TABLOID

A speculative, psychedelic ecology of a text, with echoes of Aase Berg, Ursula K Le Guin and Fern Gully.

"Shiny shiny beetle beings,
please open up your bellies to me
Shiny shiny beetle beings,
may I gently pat you on your silver shield
Shine shiny beetle beings,
I beg you to stay with me in my pea pod at night
to scare away the thunder from the low-hanging clouds
and their secret conspiracy with the bear claws."

Illustrations by Anna Sofia Bregnehave Windum.
Risograph printed with We Make It Berlin and Cover Crop.
Graphic design and layout by Zak Bergmann.
Copyright © 2024 Juniper.
Published in Berlin, Germany by TABLOID Press in an edition of 100.

The Flesh is a collection of Yves B. Golden's poems, lyric essays and social criticism – and often these generic distinctions become blurred. Published by Ediciones La Escocesa (Barcelona, ES), TABLOID facilitated this book's production as editors and book designers. A selection of Golden's texts are also translated by Leto Ybarra, rendering the author's work into Spanish for the first time.

“Respectfully! The Flesh feels like a conjuring and a force of nature—unyieldingly raw, full of delectable sensitivity that shapes a world Yves B. Golden deliveries with formidable honesty—where her word is the journey, the body and the bond. Yves writes: ‘not one bird is declined entry into heaven’. The Flesh is succulent in the mouth of the mother— Yves is a steward of time machines, celestial bliss and untethered healing. The Flesh unties the tongue, waters the mouth and the garden. Within Yves’ 5th book she offers us a timeline in recognizing that all birds and angels alike can touch the sky. We are always, already, held and drenched in glory and deserving of love and safety. The Flesh is Black like obsidian. May our love bloom like the flesh in every lifetime.”
- keioui keijaun thomas

“Yves B Golden has given us a protection spell against tyranny; a Blue Guide for the conscious and the daydream; raw free jazz that knows the standards as well. Golden’s linguistically liberated fantasies can transmute into a body of politically imperturbable ethoses in the same sentence. This book offers information for an evolutionary sensitivity, for the next level of sense-making and particularity of the human being. Though the poet urges us to de-realize the flesh, to split our own heads open, we must also accommodate the flesh’s intangibles that interlock, conjoin, negate, and negotiate: such ‘outward and inward facing conundrums’ go on and on. Welcome this ‘bearer of turbulent news.’”
- Losarc Raal

The reading score for the presentation at rile*books on Sunday June 23, an A to Z of Indexing / Organising / Cataloguing BFTK for Two Voices.

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.

Speed Glum Hero. Read it as an instruction: Speed, Glum Hero. Read it as an assertion of life, like, keep living, go on. It takes this kind of serious play to make any sense of this moment we are living through. This is a pamphlet about subjectivity splintering, substance, and legend. This is a pamphlet about complicity, tenderness, and distress. This is a pamphlet about what it takes to stay gripping to the earth. The only way out is through.

D Mortimer is a writer and artist from London interested in the crip unknown. Their first book Last Night a Beef Jerk Saved My Life was published by Pilot Press in 2021. Mortimer is a Techne scholar in trans auto fictions at The University of Roehampton. Their work concerns technologies of madness and their doctoral project is entitled, Beef Journals: Naming the Uncertain in Transgender Subject Formation.

In this essay, written in English and French, Vilnius-based artist Anastasia Sosunova unfolds her research on the history of printing, from Daniel Hopfer’s etchings to underground printers from the Soviet era, and connected the printing “matrix” to the mother figure, referencing Ocean Vuong and Guadalupe Nettel.

Ocean Vuong writes, “I’m not a monster. I’m a mother”; Jeanette Winterson: “She was a monster but she was my monster.” And thus, the monster I refer to is the one that gives birth to the prints that shape the tongues, fears, and beliefs of vast groups of people. Books of marvels and beasts, now considered emblems of a dark age of ignorance and superstition, proliferated in the 15th and 16th centuries thanks to emergent printing technologies and the influential naturalists they helped create. In the illustrations of scientific explorations by Fortunio Liceti, Athanasius Kircher, or Ulisse Aldrovandi, the lines between fact and fiction were irrelevant as they were impossible to discern.

This chapbook is published as part of the project “Mi-Monstre Mi-Livre,” organised by After 8 Books, Ariel Ink, Publication Studio Paris and Six Chairs Books, during a residency at Aperto, Paris, in the framework of the Lithuanian Season in France.

published commonly, no no no expounds an experimental poetic offering, both text & art.

each issue features a limited edition artwork. which can be tacked or framed or stored in a drawer.

celestial in nature, no no no takes the form required, and necessary.