Vrouwelijke Geesten

In Noah Ross's new book THE DOGS, Ross opens the question of authority and possession in what he deems an illicit act of translation. THE DOGS may begin with Herve Guibert's Les Chiens, but through multiple reiterations of translation, Guibert's text ultimately meets Ross to celebrate, among other sources, Marie de France, Teen Wolf, Auden, and Dom Orejudos in establishing a unique pack of hungry werewolves. You know what happens when werewolves get together: the play can get a little rough. THE DOGS empowers these snarls and yips, growls and howls, on the level of the sentence in translation as much as the embodied erotogenic zones of the body.

A visionary anthology that examines and reimagines the archive as a form of collective record-keeping, featuring work by Alexis Pauline Gumbs, Douglas Kearney, Brenda Shaughnessy, Mahogany L. Brown, and many new and emerging voices. 

Inspired by Naima Yael Tokunow's research into the Black American record (and its purposeful scarceness), Permanent Record asks, what do we gain when we engage with our flawed cultural systems of remembrance? How does questioning and creating a deep relationship to the archive, and in some cases, spinning thread from air where there is none, allow us to prefigure the world that we want? Including reflections on identity and language, diasporic and first generation lived experiences, and responses to the ways the record upholds harm and provides incomplete understandings, Permanent Record hopes to reframe what gets to be a part of collective remembrance, exploring "possibilities for speculating beyond recorded multiplicity."

Drawing from notions of "bad poetry" as the critical undoing of normative taste, Antilogy brings together works by the Brazilian artist and poet Alex Hamburger.

Central to Hamburger's practice and engagement with poetry is a focus on writing as the expression of a performative disruption and playful reworking of semiotic systems. With references to Fluxus intermediality, Brazilian concretism, experimental music, and sound poetry, Hamburger's work dynamically collapses the distinctions between fact and fiction, theory and performance, system and noise. From visual poems to abstract narrative to personal fantasy, Antilogy reminds us about the potent sense of refusal and experimentation that all art should carry.

Alex Hamburger was born in Belgrade, Serbia, in 1948. From the 80s onward his researches and proposals turned to the possibilities of fusion and intertwining of languages, developing works in Verbal, Visual and Sound Poetry, Object-Poem, Artist's books, Installation, Performance art, etc. He has published seven books in various poetical genres, three CDs of Sound Poetry and has performed several performance pieces, some in partnership with the visual artist Marcia X, with whom he established a fruitful relationship throughout the 80s, contributing decisively for a better understanding and acceptance of the above practices in the local art circuit of Rio de Janeiro. His work is held in the collections of contemporary art institutions, in Brazil and abroad, including The Museum of Modern Art, RJ, The Museum of Modern Art, SP, Printed Matter Bookstore, New York, Compendium of Contemporary Fine Prints, Hamburg, ICA, London among others. Alex Hamburger continues to live and work in Rio de Janeiro, Brazil.

With a preface by Reni Eddo-Lodge and an introduction by Sara Ahmed.
Audre Lorde (1934-92) described herself as ‘Black, lesbian, mother, warrior, poet’. Born in New York, she had her first poem published while still at school and her last the year she died of cancer. Her extraordinary belief in the power of language – of speaking – to articulate selfhood, confront injustice and bring about change in the world remains as transformative today as it was then, and no less urgent. This edition brings Lorde’s essential poetry, speeches and essays, including ‘The Master’s Tools Will Never Dismantle the Master’s House’, together in one volume for the first time.

In 1985, Judy Grahn boldly declared that lesbians have a poetic tradition and mapped it from Sappho to the present day in the groundbreaking book, The Highest Apple. In this new and updated edition of The Highest Apple: Sappho and the Lesbian Poetic Tradition, Grahn revisits the original text with her characteristic ferocious intellect, passion for historical research, careful close readings, and dynamic storytelling. Grahn situates poetry by Sappho, Emily Dickinson, Amy Lowell, H.D., Gertrude Stein, Adrienne Rich Paula Gunn Allen, Audre Lorde, Pat Parker, and Olga Broumas as central to lesbian culture—and more radically as central to society as a whole.

This new edition of The Highest Apple: Sappho and the Lesbian Poetic Tradition includes Grahn’s in depth analysis of poetic work by her friend and comrade Pat Parker and suggests a transactional approach to poetry as uncovering layers of the self. Grahn assembled this text in conversation with two younger lesbian poets, Alicia Mountain and Alyse Knorr, demonstrating the continued relevance and dynamism of The Highest Apple for contemporary readers. A new introduction by Grahn, a foreword by Alyse Knorr, and editor notes by Alicia Mountain along with six responses by contemporary poets Donika Kelly, Kim Shuck, Serena Chopra, Zoe Tuck, Saretta Morgan, and Khadijah Queen highlight the on-going significance of The Highest Apple to readers, writers, and thinkers.