{"title":"Poetry","description":"","products":[{"product_id":"xtambaa-landskin-piel-de-tierra","title":"Hubert Matiúwàa, Xtámbaa \/ Landskin \/ Piel de Tierra","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eGirasol Press, 2024\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eISBN 978-1-9160786-5-9\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Let us raise the word to the ear of the wind,” writes Hubert Matiúwàa in the first poem of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eXtámbaa\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(\u003cem\u003eLandskin\u003c\/em\u003e). The word comes first and must be cared for because the Mè’phàà language has a word for everything, living and dead, and the work of looking after those words also means looking after the relations with the living world and with the ancestors that they contain and enact. Raising the word to the wind’s ear addresses the elements of the world, but does not assume they will listen or respond; reciprocity is always possible but never assured.\u003c\/p\u003e\n\u003cp\u003eXtámbaa refers to the ceremony that is performed on a newly born child, in order to determine their animal sibling and entrust them to the land, to the forests and the rivers, so they will care for the child. The literal translation of “xtámbaa” is “landskin”; the root of the word “xtá” refers to the skin, whose role within Mè’phàà philosophy is to care for what it covers.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Books","offers":[{"title":"Default Title","offer_id":48309876719950,"sku":"","price":5.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/Xtambaa.jpg?v=1717675630"},{"product_id":"various-authors-jukub-poems-from-chiapas-for-the-reverse-conquest","title":"Various authors, Jukub: Poems from Chiapas for the Reverse Conquest","description":"\u003cp class=\"wp-block-heading\"\u003eGirasol Press, 2022\u003c\/p\u003e\n\u003cp class=\"wp-block-heading\"\u003e\u003cmeta charset=\"utf-8\"\u003eISBN 978-1-9160786-4-2\u003c\/p\u003e\n\u003cp class=\"wp-block-heading\"\u003e\u003cem\u003eJukub: Poems from Chiapas for the Reverse Conquest \u003c\/em\u003econtains poems by three poets from Chiapas, \u003cmeta charset=\"utf-8\"\u003eEdgar Darinel García, Miriam Esperanza Hernández Vázquez and Canario de la Cruz, first composed in Ch’ol and Tsotsil (two of the almost 70 languages spoken in Mexico), and translated into Spanish and English in an effort to navigate linguistic rebellion through poetry.\u003cem\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/em\u003e\u003cem\u003eJukub\u003c\/em\u003e, the Ch’ol word for canoe, alludes to the EZLN (Zapatista Army of National Liberation)’s maritime delegation, which this spring sailed to Europe to mark 500 years since the “conquest” of Mexico in 1521. Always attentive to the long histories of colonialism and resistance, the Zapatistas’ “voyage for life” is also a “reverse conquest,” which playfully re-inscribes and negates colonial history by renaming Europe\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSlumil K’ajxemk’op\u003c\/em\u003e, or\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRebel Land \/ Tierra Insumisa. \u003c\/em\u003eTranslated collectively by Juana Adcock, Leire Barrera-Medrano, Dan Eltringham, Rebecca Kosick and Annie McDermott. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Books","offers":[{"title":"Default Title","offer_id":48311631937870,"sku":"","price":5.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/ConvertOut-Resized-Jukub_portada.jpg?v=1717699345"},{"product_id":"inside-desde-la-carcel-prison-poetry-from-argentina-1975-1981","title":"Inside \/ Desde la Carcel: Prison Poetry from Argentina, 1975-1981","description":"\u003cp\u003eThis bilingual edition contains anonymous poetry, drawings and letters by political prisoners held by Argentina’s military dictatorship (1976-1983), selected and translated by Girasol Press editors in association with Mexico City’s CAMeNA (Centro Académico de la Memoria de Nuestra América), where the manuscripts are held, and with Dr Cornelia Gräbner, Lancaster University. Printed entirely on risograph by 16 Tonne Press on White Metaphor 100gsm, with Black Ebony endpapers and Gmund Bier Pils 250gsm covers. Cover designed by the artist Abi Goodman.\u003c\/p\u003e\n\u003cp\u003eThe poems in\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eInside\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewere smuggled out of the military junta’s prisons and detention centres to Mexico City, where they were published in 1981 to raise funds for the political prisoners. Presenting them in English for the first time,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eInside\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexplores the displacement of being confined in place that characterises the carceral experience. First writing and then translation allows poetry to transcend the forced confinement of the prison cell, as these fugitive manuscripts have travelled from Argentina to Mexico, and now to the UK.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50745518555470,"sku":"","price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/whatsapp-image-2024-07-27-at-15.58.26-3.webp?v=1734871101"},{"product_id":"this-too-is-a-glistening","title":"this too is a glistening","description":"\u003cp\u003e\u003cspan style=\"font-size: large;\"\u003eBy Pratyusha, Jessica J. Lee, Alycia Pirmohamed \u0026amp; Nina Mingya Powles\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: large;\"\u003eCover art by Pratyusha\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e​\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan\u003eI walk along the ravines of my childhood until the sloping pines begin to fade into alpine scrub. I direct my gaze across time.\u003cbr\u003e​\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003cspan\u003eIn memory, the treeline is a shifting state.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eProse poem, nature diary, poetic inquiry — these paths converge in \u003cstrong\u003e\u003cem\u003ethis too is a glistening\u003c\/em\u003e\u003c\/strong\u003e, a tender experiment in collaborative writing created over the course of one weekend. Disrupting notions of genre and authorship, this is a tactile and immersive meditation on friendship, creativity, the body and the migrant self, writing against the backdrop of ongoing genocide and environmental degradation. \u003cbr\u003e\u003cbr\u003e“Lineage is a mode of intense proximity in this extraordinary collaboration [...] How do we experience what’s planted for us, elsewhere? this too is a glistening proposes the diasporic body as both cyanotype and vestige, a ‘wet stitch.’ I was deeply moved.” \u003cbr\u003e​— Bhanu Kapil\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003efieldnotes collective \u003c\/strong\u003eis an international collaborative nature writing project founded by Pratyusha, Alycia Pirmohamed, Jessica J. Lee and Nina Mingya Powles, based between London, Edinburgh and Berlin, whose creative practices intersect between poetry, nature writing, publishing and teaching. this too is a glistening\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e was produced with support of funding from the Four Nations International Fund\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50755538354510,"sku":"","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/0367-001.jpg?v=1735045225"},{"product_id":"thank-you-for-everything","title":"Thank You For Everything","description":"\u003cp\u003eby Nell Osborne\u003c\/p\u003e\n\u003csection class=\"TextWrapper css-13eyv7i e1etd7xh1\"\u003e\n\u003cdiv class=\"left-section css-1n7gss e1etd7xh4\"\u003e\n\u003cp\u003e\u003cem\u003eI live inside a dark cave that I fill up~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ethe décor is not at all prehistoric~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI painted a huge, basically naked portrait of myself looking furiously happy for the entrance~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eno one can enter that doesn’t drop to the floor in admiration~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eit’s a very fine painting on a technical level~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI drop my clothes onto the cave floor directly~\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eNell Osborne’s\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eThank You For Everything\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis a collection of poems, appointments, wiggle rooms, self-help guides, dialogue scraps, and misery chambers. It skewers the idea of the ‘poet’s voice’ with drab ease, and then skewers that. By turns oblique, seductive, and silly, here is a melancomic portrait of existence in 2024\/5.\u003c\/p\u003e\n\u003cp\u003e‘If like Freud’s idea of hysteria – itself dead in the water – behind every symptom is a hidden pain, so too for poetry: its lyric self-seriousness and verbiage, failed addresses so often repurposed from the corporate and platform voices that shape civic emotion, its ‘personals’ and ‘personalities’.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThank You For Everything\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis an act of love for poetry, Nell Osborne going in slantways, ripping and rippling through “tilling sulky cockle shoals” to circle what remains, making me laugh, so much – I love the poems tuning in and out of these voices, written by a rare and liberatory mind.’\u003c\/p\u003e\n\u003cp\u003e— Lucy Mercer\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e‘I hate poetry that smirks as it re-describes the administered world, all that alienation wrapped up in rictus dayglo. But Nell Osborne makes wisdom blush and wit look like slapstick, and it all seems possible, scuffed and crude and stinging. “writing is for staying insufferable.” And don't you forget it.’\u003c\/p\u003e\n\u003cp\u003e— Luke Roberts\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50755742007630,"sku":"","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/06z84drh.png?v=1735046752"},{"product_id":"vegetal-soul","title":"Vegetal Soul","description":"\u003cp\u003eby Hussein Mitha\u003c\/p\u003e\n\u003cp\u003e‘—open future, like a plant—’\u003c\/p\u003e\n\u003cp\u003eDiasporic, ornate and protean, shifting in register between essay, prose-poetry and art history, Hussein Mitha’s \u003cem\u003eVegetal Soul\u003c\/em\u003e is a beautiful and urgent examination into class, bourgeois aesthetics and the transformation of society.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHussein Mitha\u003c\/strong\u003e is an artist and writer who lives in Glasgow.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50765681754446,"sku":"","price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/4b1grobn.png?v=1735217102"},{"product_id":"stewarding","title":"stewarding","description":"\u003cp\u003eby Sean Roy Parker\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003estewarding\u003c\/em\u003e maps the joyful and embodied ways we can resist oppressive structures that control our food, housing, and socialisation. We begin in an abandoned school, previously the union headquarters for a coal board, which became a legal guardianship, now condemned. We witness acts of communing between human inhabitants, composting worms, microbes in fermentation, and learn working class histories along the way. Here, complex networks emerge between agents, and thrive, disrupting the monolithic power of corporate extraction. Sean Roy Parker’s debut collection of poetry is a generous account of hopeful ways to eat and ways to live.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI live amongst stewards who paint walls lazure\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eand fix leaks to fend off black fungal bloom.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI live amongst a family of swifts settled in the rafters\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ewho shit on the windowsills and draw lines on dusk skies.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI live amongst vivacious and herbaceous edges,\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ebillowing with edible pioneers and\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eformerly kempt shrubs that now split bricks with their roots.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI live amongst dutiful pollinators that nest in rotted wood:\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBrimstone, Red Admiral, Speckled Blue, Angel Shade, Old Lady\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI live amongst rodents who trolley food around the perimeters\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ewho clear up after us in the kitchen at night\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ewho hide from the cat in tall grass.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e‘\u003cem\u003estewarding\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis full of sensitive advice and astute observations for scavengers, foragers, worms farmers, and citizen scientists; you'll need this when you are knee-deep in last year's dirt and dead flowers.’– Lars Holdhus, Degrowth For Artists\u003c\/p\u003e\n\u003cp\u003e‘Between verses, I am soon found reading with the worms and the squeaking cabbage, laughing with renegade tomatoes. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003estewarding\u003c\/em\u003e, Sean Roy Parker draws us closer to the ground, to the overlooked and discarded, where he points to the absolute worthiness of life. Conviviality gathers around bruised produce with spoons, as green names invoke our own familiar places, each poem surrenders anew to an innate pace and the responsibility of with-ness. Read aloud, yes, I live amongst, I live amongst!’ – Priya Jay\u003c\/p\u003e\n\u003cp\u003e‘Evocative, sharply observed, and sneakily funny, \u003cem\u003estewarding\u003c\/em\u003e is an exploration of the human relationship with plants through the senses and feelings of someone who experiences it with remarkable depth. Sean Roy Parker’s creation is a unique and beautiful thing.’ – Claire Ratinon\u003c\/p\u003e\n\u003cp\u003e‘If you want to rebuild your relationship with the planet, this is the place to start. From the wriggling microbiota grown in collectively fermented cabbage, to compost lasagne and art installations for worms,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003estewarding\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eteems with life. A tender and persuasive testament to a better way of living.’ – Abi Palmer\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783279710542,"sku":"","price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/5dzhyinx.png?v=1735474666"},{"product_id":"outages","title":"Outages","description":"\u003cp\u003eby Fred Carter\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e‘Poets who have learned to say yes even though they don’t believe it have a lot to answer for. The reinflation of dead hopes and diminished expectancies has become the definition of a lot of ‘political poetry’ and perhaps simply politics altogether. Poets who say no both to what they do believe (to exist) and to what they don’t seem by contrast to put themselves into an impossible position, to make their poems into a ‘clutch game’ of residual possibility, in which they attempt, with the most minimal means (musical, cognitive, conceptual), to make the exhaustion they both believe in and feel into something other than itself. When they come, the ascents are themselves minimal, almost imperceptible. But why ascend? What we want is poems that fight for everything in a new form, on the diminished material basis that we both exist in and are: when it comes, it won’t go over anyone’s heads. \u003c\/span\u003e\u003ci\u003eOUTAGES\u003c\/i\u003e\u003cspan\u003e describes it like this: ‘a flightless bird spewing love into the mouth of another bird, as clear as any way \/ I know to describe poetry as work.’ Poems to encounter at eye-level: alongside and with.' \u003c\/span\u003e\u003cspan\u003e— Danny Hayward\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e'These poems make we want to write too; a proud thief also, an exasperated user of words that sometimes feel useless as dead leaves. But I want to compost, decompose. I sympathise in sweaty clarity — poems clenched one hand over the mucky other; Jacob's ladders where every rusted hinge sings a particular and unexpected song.' \u003c\/span\u003e\u003cspan\u003e— Gloria Dawson\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e'Salty in syntax circuitry, we wade knee-deep through the siloes of labour, testing our pH for presenteeism. If the very flow of blood to and from the heart is grown over with errant value, pleading by the beat of shelf life, what grasses us to the boss but life itself? I am that wilting shrub. Refusal is the power cut as praxis. All rise from moulding tenements; love your friends; invoice for the rest you are owed: ‘hard \/ relate.’' \u003c\/span\u003e\u003cspan\u003e— Maria Sledmere\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783385354574,"sku":"","price":6.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/V2-035---Front-Cover.png?v=1735475935"},{"product_id":"the-north-road-songbook","title":"The North Road Songbook","description":"\u003cp\u003eby Verity Spott\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe North Road Songbook\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecollects together eight sequences of poems, most of which were composed between 2019 and 2024. The title sequence is a set of lyrics written around North Road in Brighton, originally a mediaeval field boundary, now a chaotic thoroughfare filled with ghosts, sirens and songs.\u003c\/p\u003e\n\u003cp\u003eVerity Spott is a poet, teacher and care worker from Brighton, England, whose books include \u003cem\u003eHopelessness\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(the 87press),\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoems of Sappho\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(in translation) and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrayers Manifestos Bravery\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Pilot Press). Verity’s poetry has appeared in The New York Times and has been translated into French, German and Greek.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783475958094,"sku":"","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/6v5zvs2s.png?v=1735477122"},{"product_id":"affiliation","title":"Affiliation","description":"\u003cp\u003eby Mira Mattar\u003c\/p\u003e\n\u003cp\u003eSad Press. 2021 \u003c\/p\u003e\n\u003cp\u003eA \u003cspan\u003estunning sequence of letters and poems exploring gender, family, religion, war, ecology, colonialism and love in Jordan, Lebanon, Palestine and the United Kingdom.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMira Mattar writes fiction and poetry. She is an independent researcher, editor and tutor. She is a Palestinian\/Jordanian from London where she continues to live and work. She has also published \u003ci\u003eYes, I Am A Destroyer \u003c\/i\u003ewith Ma Bibliothèque (2020), and \u003cem\u003eAnd most of all I would miss the shadows of the tree's own leaves cast upon its trunk by the orange streetlight in the sweet blue darks of spring\u003c\/em\u003e with Veer2 (2023). \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv data-cel-widget=\"globalStoreInfoBullets_feature_div\" data-csa-c-id=\"zhtu7m-b9lb27-ruowbd-6gjsy2\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"1912802392\" data-csa-c-slot-id=\"globalStoreInfoBullets_feature_div\" data-csa-c-content-id=\"globalStoreInfoBullets\" data-csa-c-type=\"widget\" data-feature-name=\"globalStoreInfoBullets\" class=\"celwidget\" id=\"globalStoreInfoBullets_feature_div\"\u003e\u003c\/div\u003e\n\u003cdiv data-cel-widget=\"buyingOptionNostosBadge_feature_div\" data-csa-c-id=\"70yw4q-5dyabr-f0l37t-t4f062\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"1912802392\" data-csa-c-slot-id=\"buyingOptionNostosBadge_feature_div\" data-csa-c-content-id=\"buyingOptionNostosBadge\" data-csa-c-type=\"widget\" data-feature-name=\"buyingOptionNostosBadge\" class=\"celwidget\" id=\"buyingOptionNostosBadge_feature_div\"\u003e\u003c\/div\u003e\n\u003cdiv data-cel-widget=\"tellAmazon_feature_div\" data-csa-c-id=\"qr4a6a-q1y3sa-k839d-9cgbnn\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"1912802392\" data-csa-c-slot-id=\"tellAmazon_feature_div\" data-csa-c-content-id=\"tellAmazon\" data-csa-c-type=\"widget\" data-feature-name=\"tellAmazon\" class=\"celwidget\" id=\"tellAmazon_feature_div\"\u003e\n\u003cdiv data-cel-widget=\"tell-amazon-desktop_DetailPage_3\" data-csa-c-id=\"iiikot-dmvxd2-4o8p4p-h7ddbz\" data-csa-c-painter=\"tell-amazon-desktop-cards\" data-csa-c-type=\"widget\" data-csa-c-slot-id=\"DsUnknown-4\" data-csa-c-content-id=\"DsUnknown\" data-csa-op-log-render=\"\" class=\"celwidget c-f\"\u003e\n\u003cdiv data-mix-claimed=\"true\" data-acp-tracking=\"{}\" data-card-metrics-id=\"tell-amazon-desktop_DetailPage_3\" id=\"CardInstance_a6kMidi6PCakLrex8UjVw\"\u003e\n\u003cdiv class=\"_tell-amazon-desktop_style_tell_amazon_div__1YDZk\" data-logged-in=\"true\" data-marketplace=\"A1F83G8C2ARO7P\" data-asin=\"1912802392\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783658344782,"sku":"","price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/9781912802395.jpg?v=1735479050"},{"product_id":"rock-flight","title":"rock flight","description":"\u003cp\u003eby Hasib Hourani\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003erock flight\u003c\/i\u003e\u003cspan\u003e is a book-length poem that follows a personal and historical narrative to compose an understated yet powerful allegory of Palestine’s occupation. The poem uses refrains of suffocation, rubble, and migratory bird patterns to address the realities of forced displacement, economic restrictions and surveillance technology that Palestinians face both within and outside Palestine. It depicts a restlessness brought about by dispossession, and a determination to find significance in fleeting objects and fragments. It looks to the literary form as an interactive experience, and the book as an object in flux, inviting the reader to embark on an exploration of space, while limited by the box-like confines of the page. Formally claustrophobic, the poem morphs into irony, declaring everything a box while refusing to exist within one.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e‘Poetry’s most captivating speech is the apparatus of colonial and administrative language wickedly turned back on itself. This poetry is wicked: a rock, flung whilst studied, signalling hard, unerring and remarkable.’ – Holly Pester\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e‘\u003ci\u003erock flight \u003c\/i\u003eis relentlessly potent. Merging resistance and poetry, Hasib Hourani writes back—against the “suffocating state” and imperial forces. Be ready to be transformed by Hourani’s diasporic anticolonial poetics.’ – Don Mee Choi\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e‘rock flight registers catastrophic silences, deletions, choked speech, at the same time as it builds a language capable of resistance. Hourani is a brilliant poet, generous with his own story, scrupulous with facts, incisive and ambidextrous with poetic technique. His impossible multiple choice questions, dazing asides, involving passages of narrative train the eye on constriction, violence, and freedom: the box, the rock, the bird soaring with a spear through its neck.’ – Caleb Klaces\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e‘Here is a poetry of passion; a poetry of necessity; a poetry of survival, and a poetry-triumphant.’ – Maxine Beneba Clarke\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e‘\u003ci\u003erock flight\u003c\/i\u003e is a work of timelessness, rigour, precision, relationality and guts – just like its poet. A must-read for all of us who yearn and stretch and reach for a world beyond colonies, and an even more urgent read for those who don’t.’ – Alison Whittaker\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e‘\u003ci\u003erock flight\u003c\/i\u003e is the poetics of the Palestinian, still elsewhere, with a spear in their throat.’ – PBS Selector Roy McFarlane\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eHasib Hourani\u003c\/strong\u003e, born in Bahrain in 1996, is a Lebanese-Palestinian writer, editor, arts worker and educator who lives in so-called Australia. His 2021 essay, ‘when we blink’ was shortlisted in the Liminal and Pantera Press Nonfiction Prize and appears in the anthology, Against Disappearance. \u003ci\u003erock\u003c\/i\u003e \u003cem\u003eflight\u003c\/em\u003e is his first book.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783677350222,"sku":"","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/rock-flight_hasib-hourani_frontscan.jpg?v=1735479652"},{"product_id":"cut-flowers-ii","title":"Cut Flowers II","description":"\u003cp\u003eby Harriet Tarlo\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSome years ago \u003c\/span\u003eHarriet Tarlo found a form and started writing \u003cem\u003eCut Flowers\u003c\/em\u003e. All kinds of materials found a place to go that might allow, to some extent, for the contradictory nature of life and language, their depth and shallowness. This is the second volume of \u003cem\u003eCut Flowers\u003c\/em\u003e to be published by Guillemot Press. It holds four sections engaged with ‘Forestry, Folk,’ ‘Passed, Passing,’ ‘Coastal Kestrel’ and ‘Gallery, Ground’ reflecting engagement with place, environment, art, music and death. Ultimately however, \u003cem\u003eCut Flowers 2\u003c\/em\u003e is as much about this elusive, alluring little form as anything.\u003c\/p\u003e\n\u003cp\u003eHarriet Tarlo\u003cspan\u003e’s books include \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eGathering Grounds\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (Shearsman, 2019) and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eField\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (Shearsman, 2016) as well as four artists books with Judith Tucker (Wild Pansy Press). Harriet was the editor of the influential anthology of radical landscape poetry \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Ground Aslant\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (Shearsman, 2011).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe cover of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCut Flowers 2\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis by Judith Tucker\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783717785934,"sku":"","price":7.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/Cut_Flowers_2_Cover_FINAL.jpg?v=1735480077"},{"product_id":"forest-of-noise","title":"Forest of Noise","description":"\u003cp\u003eby Mosab Abu Toha\u003c\/p\u003e\n\u003cp\u003e‘Powerful, capacious and profound’ - Ocean Vuong\u003c\/p\u003e\n\u003cp\u003e‘A book you won’t soon forget’ - Ilya Kaminsky\u003c\/p\u003e\n\u003cp\u003eA deeply powerful collection of poems about life in Gaza by award-winning Palestinian poet, Mosab Abu Toha.\u003c\/p\u003e\n\u003cp\u003eBarely 30 years old, Mosab Abu Toha was already a well-known poet when the current assault on Gaza began. After the Israeli army bombed his house, pulverising a library he had painstakingly built for community use, he and his family fled for their safety. Not for the first time in their lives.\u003c\/p\u003e\n\u003cp\u003eSomehow, amid the chaos, Abu Toha kept writing poems. These are those poems. Uncannily clear, direct and beautifully tuned, they form one of the most astonishing works of art wrested from wartime. Here are directives for what to do in an air raid and lyrics about the poet’s wife, singing to his children to distract them. Huddled in the dark, Abu Toha remembers his grandfather’s oranges and his daughter’s joy in eating them. Here are poems to introduce readers to his extended family, some of them no longer with us.\u003c\/p\u003e\n\u003cp\u003eMoving between glimpses of life in relative peacetime and absurdist poems about surviving in a barely liveable occupation, \u003cem\u003eForest of Noise\u003c\/em\u003e invites a wide audience into an experience that defies the imagination — even as it is watched live. This is an extraordinary and arrestingly whimsical book, that brings us indelible art in a time of terrible suffering.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783910166862,"sku":"","price":10.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/9780008738839.webp?v=1735483215"},{"product_id":"secret-poetics","title":"Secret Poetics","description":"\u003cp\u003eby \u003cspan\u003eHélio \u003c\/span\u003eOiticica\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTranslated by Rebecca Kosick from Portuguese\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIntroduction by Rebecca Kosick; Afterword by Pedro Erber\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBetween 1964 and 1966, in the first years of Brazil’s military dictatorship, Hélio Oiticica wrote a series of lyrical poems, entitled \u003c\/span\u003e\u003cem\u003eSecret Poetics\u003c\/em\u003e\u003cspan\u003e, and reflected in a private notebook on their significance for his artistic practice. Despite his global fame as a founder of the interdisciplinary movement known as neoconcretismo, his collaborations with major Brazilian artists and writers (Lygia Clark, Lygia Pape, Ferreira Gullar, etc.), and his influence across a range of disciplines (including painting, film, installation, and participatory art), Oiticica’s “secret” poems are almost unknown and have never been published as a collection. This edition, which features the original texts in facsimile reproductions along with English translations and accompanying essays by translator Rebecca Kosick and critic Pedro Erber, uncovers the significance of poetry to Oiticica’s thinking on participation, sensation, and memory. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHélio Oiticica\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e(1937–1980) is among twentieth-century Brazil’s most significant artists, with a multifaceted practice that included painting, sculpture, installation, performance, filmmaking, and writing. Oiticica was a leading member of the Grupo Frente of concrete artists and, in 1959, co-founded the neoconcrete movement with artists and poets including Lygia Clark, Lygia Pape, and Ferreira Gullar. Oiticica was a 1970 Guggenheim Fellow and today his work is held in collections across the world, including at MoMA and the Tate Modern.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRebecca Kosick\u003c\/strong\u003e\u003cspan\u003e is a poet, translator, and co-director of the Bristol Poetry Institute at the University of Bristol (UK) where she is also Senior Lecturer in Comparative Poetry and Poetics. Kosick is the author of the monograph Material Poetics in Hemispheric America (Edinburgh) and the poetry collection Labor Day (Golias Books), and her poems and translations have appeared in literary venues such as The Recluse, Fence, and The Iowa Review. She was born in Michigan.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePedro Erber\u003c\/strong\u003e\u003cspan\u003e is Professor of Comparative Literature at Waseda University, Senior Research Associate at Cornell University, and Editor of ARTMargins. He is the author of Breaching the Frame: The Rise of Contemporary Art in Brazil and Japan (UC Press, 2015).\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783951880526,"sku":"","price":20.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/download.jpg?v=1735483787"},{"product_id":"the-overmind","title":"The Overmind","description":"\u003cp\u003eby James Byrne\u003c\/p\u003e\n\u003cp\u003eTraversing an axis of Liverpool-London, and following a car accident in New York, \u003cem\u003eThe Overmind\u003c\/em\u003e is an attempt to metabolise experience whilst seeing the world through the skin of a jellyfish. In lyric poems and sequences, Byrne summons his Irish and English working-class ancestry, asking questions against injustice to those in power. These poems are written through grief, illness and silence, where the author’s love for his daughter during periods of separation is powerfully connected with his own father’s dementia. Mythogeographic, linguistically adept and restlessly explorative of social and personal space, \u003cem\u003eThe Overmind \u003c\/em\u003eis Byrne’s seventh full collection of poems and his most powerful work to date.\u003c\/p\u003e\n\u003cp\u003e\"In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Overmind\u003c\/em\u003e, I think we do ‘enter the interlude’, a between-place full of spectral distortions, subconscious stirrings, subterranean mutterings. It’s a collection with a keen ear to the infrasound; it catches  words half-heard, sees things slant through smoke or shadow. Byrne’s book is ghostly, in that it is populated by apparitions. It is also ghostly in that it enacts kind of portable haunting, a ‘poltergeist among [the] living ghosts’ of history, literature and contemporary culture. There’s a playfulness at work here, a restless, tricksy engagement with traditions of art and forms of language, that’s both spooky and disruptive. There are those who exist on the periphery, whose music is made in the undersong. I think that’s who this collection is for – the working-classes, the ghosts in the machine.\"  — Fran Lock\u003c\/p\u003e\n\u003cp\u003e\"After reading\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Overmind\u003c\/em\u003e, you are immediately impressed by James Byrne’s steely, yet tensile intelligence, and by the cognitive concentration he exerts on each poem, as though using a kind of pressure-valve syntax, which in each compressed statement feels as if it could burst and let seep, at any moment, the hiss of any still unused imagination. By imparting unremitting torque direct to every word and image, the poetic voice creates an immense repellent to any linguistic slack. Reason enough it seems to read this collection, for amid Byrne’s subversion of the written word and the masterful way in which he keeps language in a state of (almost) aporetic equilibrium, the readers will realize, almost at once, that they are encountering one of the least ponderous minds in contemporary poetry, and one of its most Promethean voices.\" — Paul Stubbs\u003c\/p\u003e\n\u003cp\u003eJames Byrne is a poet, editor, translator and visual artist. He has published seven full collections, including\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOf Breaking Glass\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e(Broken Sleep Books, 2022). A longtime teacher of poetry and transnational poetics, he has co-edited and co-translated several books, including Ro Mehrooz’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoems Written Through Barbed-wire Fences\u003c\/em\u003e, a collection of Rohingya language poems, and Ashur Etwebi’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eFive Scenes from a Failed Revolution\u003c\/em\u003e. A Selected Poems of his work is forthcoming in February 2025.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783976456526,"sku":"","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/a41336_8299d9ca4e974527ae50d075d5a0989f_mv2.webp?v=1735483920"},{"product_id":"despegue-departure","title":"despegue \/ departure","description":"\u003cp data-hook=\"product-title\" class=\"OXQzmM\"\u003eby Víctor Rodríguez Núñez\u003c\/p\u003e\n\u003cp data-hook=\"product-title\" class=\"OXQzmM\"\u003eTranslated by Katherine M. Hedeen\u003c\/p\u003e\n\u003cdiv id=\"TPAMultiSection_kknvza40\" class=\"TWFxr5\"\u003e\n\u003cdiv class=\"TPAMultiSection_kknvza40\"\u003e\n\u003cdiv data-hook=\"product-page\" class=\"l7SIaB layout__classic isDesktop\" data-layout-name=\"classic\"\u003e\n\u003carticle class=\"GVYGm5\"\u003e\n\u003cdiv class=\"tfRE5M\"\u003e\n\u003csection class=\"Jgs2b9\"\u003e\n\u003cdiv class=\"WAZqE7 QfrfFD cell\"\u003e\n\u003csection data-hook=\"description-wrapper\" class=\"Va_ZoC\"\u003e\n\u003cdiv class=\"LvOu6J\"\u003e\n\u003cdiv class=\"vaI0UH\" data-hook=\"content-wrapper\"\u003e\n\u003cp\u003eVíctor Rodríguez Núñez’s prize-winning \u003cem\u003edespegue \/ departure\u003c\/em\u003e is a book about poetry, place, and belonging. Its rich, challenging, and subversive sonnets reveal the complexities and possibilities of Cuban contemporary poetry to a new English-language audience. Rodríguez Núñez speaks to a global generation of exiles and those whose hearts remain forever elsewhere, those who have found another home. \u003cem\u003edespegue \/ departure\u003c\/em\u003e is an original, inventive and unflinching examination of what it means to leave, to be left behind, and of our ability to stay.\u003c\/p\u003e\n\u003cp\u003eVíctor Rodríguez Núñez (Havana, 1955) is one of Cuba’s most outstanding and celebrated contemporary writers, with over eighty collections of his poetry published throughout the world. He has been the recipient of major awards in the Spanish-speaking region. His selected poems have been translated into over a dozen languages and he has read his poetry in over fifty countries. He divides his time between Gambier, Ohio, where he is Professor of Spanish at Kenyon College, and Havana, Cuba. \u003c\/p\u003e\n\u003cp\u003eKatherine M. Hedeen is a prize-winning translator of poetry and an essayist. Her latest translations include collections by Juan Calzadilla, Antonio Gamoneda, Fina García Marruz, and Raúl Gómez Jattin. She is the co-editor, with Welsh poet Zoë Skoulding, of the groundbreaking transatlantic translation anthology,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePoetry’s Geographies\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Eulalia \/ Shearsman 2022). She is Managing Editor of Action Books. She resides in Ohio, where she is Professor of Spanish at Kenyon College, and Havana, Cuba. \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50783990841678,"sku":"","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/a41336_ac24912334ce4aeaaf9fac0876173b79_mv2.webp?v=1735484330"},{"product_id":"mingle","title":"Mingle","description":"\u003cp\u003eby Caleb Parkin \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCaleb Parkin\u003c\/span\u003e\u003cspan\u003e’s\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003edark and mischievous second poetry collection \u003cem\u003eMingle\u003c\/em\u003e stirs up the toxicities between landscapes, ecosystems and bodies, in poems bubbling over with hyper-wealth and haunted by tarnished ideals. Through creatures, compounds and chemicals, the poems probe what makes up our world's matter, and how we use it for good or ill. From gold to hydrocarbons, radioactive gardening to viral memes, the resulting mixture is a potent poetic cocktail.\u003c\/p\u003e\n\u003cp\u003eHere, intimate connections and grand narratives are unsettled; we are implicated in prickly histories and weird futures and the natural world reminds us of its unruliness – as well as our own. Reflections warp in noxious ponds and voices distort and echo in uncanny landscapes. At times hyperreal and surreal, adventurous and technicolour, \u003cem\u003eMingle \u003c\/em\u003efizzes with the possibilities of queered language and altered states of poetic form.\u003c\/p\u003e\n\u003cp\u003e“In\u003cspan\u003e \u003cem\u003eMingle\u003c\/em\u003e\u003c\/span\u003e, Caleb Parkin creates a space of panpsychically playful interaction between all Earth’s beings, giving its attention to the experience of waterlilies and inflatable penises alike. The reader is encouraged to look deeply at the world around us, with the awareness that it just might be staring back. Our natural interconnectedness and mixed-up-ness is expressed in a balance of fragility and camp joy, by a poet with a gift for wit and the unexpected.” - \u003cspan\u003eSuzannah Evans\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"mobile-undersized-upper\"\u003e“\u003cem\u003eMingle\u003c\/em\u003e is a fizzing meditation on our queer and marvellous intermingled world, its bounty and its poisons, our interconnectedness and our complicity. It raises important questions about the inseparability of systems and their consequences: from the awful irony of curing one cancer, but causing another, to the ever-presence of human medications and interventions in the more-than-human world.”\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e- Polly Atkin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"mobile-undersized-upper\"\u003e\u003cspan\u003eCaleb Parkin\u003c\/span\u003e\u003cspan\u003e has poems in \u003c\/span\u003e\u003cspan\u003eThe Guardian, The Rialto, The Poetry Review\u003c\/span\u003e\u003cspan\u003e and was guest poet on BBC Radio 4’s \u003c\/span\u003e\u003cspan\u003ePoetry Please\u003c\/span\u003e\u003cspan\u003e. His debut collection, \u003c\/span\u003e\u003cspan\u003e\u003cem\u003eThis Fruiting Body\u003c\/em\u003e,\u003c\/span\u003e\u003cspan\u003e was longlisted for the Laurel Prize 2022. He’s published three pamphlets: \u003c\/span\u003e\u003cem\u003eWasted Rainbow\u003c\/em\u003e\u003cspan\u003e (tall-lighthouse),\u003c\/span\u003e\u003cspan\u003e \u003cem\u003eAll the Cancelled Parties\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e (collected City Poet commissions) and \u003c\/span\u003e\u003cem\u003eThe Coin\u003c\/em\u003e\u003cspan\u003e (Broken Sleep). He tutors for Poetry Society, Poetry School, Cheltenham Festivals, First Story, Arvon, and holds an MSc in Creative Writing for Therapeutic Purposes (CWTP). From 2023, he’s a practice-as-research PhD candidate at University of Exeter, as part of RENEW Biodiversity.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50784125583694,"sku":"","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/s-l960.webp?v=1735485562"},{"product_id":"amends","title":"Amends","description":"\u003cp\u003eby Tim Etchells\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e‘I want to apologise for being drunk at the eclipse…’\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAmends\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eby Tim Etchells is\u003cem\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ea selection of texts haunted by performance but written for the page. In three uncanny acts,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmends\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eexhausts the inauthentic languages of device, correction and apology, while remaining deeply sorry.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e‘Etchells makes the comic and cosmic collide. There’s richness in the debris.’ — Jonathan Meades\u003c\/p\u003e\n\u003cp\u003e‘Micro, macro and all metaphysical states in between,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmends\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eholds our sensory world through death, breath and the first person present tense.’— Maria Fusco\u003c\/p\u003e\n\u003cp\u003e‘Tim Etchells explores how our 21st-century maladies—the technologies that multiply but cannot meet our desires, social humiliation, the accumulation of capital—have infected our words. He finds a way through by testing language to antic destruction: rehearsing our stupid desires over and over like a playground game, or setting our crap proprieties against sublime acts of god.\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAmends\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eis a relentless, bleak and funny liturgy against the debasement of how we address ourselves to ourselves, to each other and the world.’ — Jennifer Hodgson\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eTim Etchells is an artist and writer whose work shifts between performance, visual art and fiction. Living and working in London and Sheffield, he has produced major commissions for public spaces and exhibited in museums and galleries in many international contexts. Etchells is the leader of the world-renowned performance group Forced Entertainment.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50784203964750,"sku":"","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/9781803522722.jpg?v=1735487617"},{"product_id":"solitary-pleasure-selected-poems-journals-and-ephemera-of-john-wieners","title":"Solitary Pleasure: Selected Poems, Journals and Ephemera of John Wieners","description":"\u003cp class=\"MsoNormal\" style=\"line-height: normal;\"\u003eEdited by Richard Porter\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003ci\u003eSolitary Pleasure\u003c\/i\u003e is a new collection of poetry, journal entries, letters and ephemera by the American poet John Wieners, edited by the artist Richard Porter with an introduction by the poet and Wieners scholar Nat Raha.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eJohn Wieners (1934-2002) was a poet, a Black Mountain College alumnus and an antiwar, gay rights \u0026amp; mental health activist. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e‘John Wieners has been described as both ‘the greatest poet of emotion’ (by Robert Creeley) and ‘the poet laureate of gay liberation’ (within the Gay Liberation press). \u003ci\u003eSolitary Pleasure\u003c\/i\u003e delivers us this poet raw with mid-century queer feelings. Here, we encounter a writer preoccupied with the power and magic of poetics to profoundly render love, loss and survival in the face of destruction.’\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e— Nat Raha, from the introduction\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e'Any \"selected poems\" is going to reveal the tastes of its editor, especially when those poems are selected from among an extensive body of work like the one John Wieners left us. Richard Porter's taste is exquisite, and his selection covers great ground, from the torch song poems of Wieners' early career to the rich, tessellated works of his beautiful and anguished late-sixties period. If I wanted a friend to fall in love with John Wieners, I'd give them this book.'\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e— Michael Seth Stewart, editor of \u003ci\u003eStars Seen in Person: Selected Journals of John Wieners\u003c\/i\u003e (City Lights)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e'This book is a great love held on paper, groaning out of Black Mountain and Boston. You are hit accurately by the poet flying around you as a reincarnated bow and arrow cherub. John Wieners is a fever dream where the poems forever maintain their mystery, releasing a flood of spontaneity in the reader's imagination. Let's get in the magic with both feet; let's do it now!'\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e— CAConrad, author of \u003ci\u003eAmanda Paradise\u003c\/i\u003e and \u003ci\u003eWhile Standing in Line for Death\u003c\/i\u003e (Wave Books)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e'\u003ci\u003eSolitary Pleasure\u003c\/i\u003e is a selected collection of Wieners’ poems, appended with letters and journal entries. An introduction, written by contemporary poet Nat Raha, makes a powerful case for reading Wieners’ work as art born from “the heart of struggle”. The poems themselves are offhand and diaristic. Sometimes, they deploy childlike rhymes that purposely steer close to nonsense, successfully generating a sense of wonder (“If I had a canoe \/ I’d fill it with you \/ Then what would you do”). The Wieners of \u003ci\u003eSolitary Pleasure\u003c\/i\u003e is a poet eager to vocalise queer desire. “The beauty of men never disappears,” he writes, later portraying desire as something that must be “choked” out of him. Occupying nearly a third of \u003ci\u003eSolitary Pleasure\u003c\/i\u003e are his “Asylum Poems”, which Wieners wrote in 1969 – the summer of the Stonewall riots – while in a psychiatric institution. These poems spotlight the connection between art and affliction, but challenge us to consider creative expression as a very real mode of survival and salvation, and not merely, as current wellness discourses suggest, a potential curative or preventive to mental ill-health.'\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e— Ralf Webb for The Guardian\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eSoftcover\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e15x21cm\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e136pp\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003ePrinted on 100% recycled paper \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50907919122766,"sku":"","price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/cd8syhre.png?v=1737215321"},{"product_id":"abc-in-sound","title":"ABC in Sound","description":"\u003cp\u003eby Bob Cobbing\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e'This 8th edition of Bob Cobbing’s 1965 ground-breaking polylingual sonic abecedary unites Jennifer Pike Cobbing’s cover design for its original publication as Sound Poems with the typeset text of later printings and a new introduction by Robert Sheppard which investigates its character, pre-history and subsequent realisations in performance.' (Adrian Clarke)\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50925269057870,"sku":"","price":6.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/Veer067_cover_499.jpg?v=1737480701"},{"product_id":"earth","title":"Earth","description":"\u003cp\u003eby Maggie O'Sullivan\u003c\/p\u003e\n\u003cp\u003eGong Farm, 2024\u003c\/p\u003e\n\u003cp\u003eA5, 44 pages, Black \u0026amp; white printing, Saddle stitched, Softcover, 2024\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis latest work collects poems written by O'Sullivan over the past ten years. Magpies skrike across this crevasse, sounding us out. And we listen in like one of the animals of this earth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePublished by Gong Farm \u0026amp; Tom Crompton\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":50999739253070,"sku":"","price":10.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/Screenshot_1-2-2025_161118_goodpress.co.uk.jpg?v=1738426372"},{"product_id":"my-avon","title":"My Avon","description":"\u003cp\u003eby Mrs. Meg Avon\u003c\/p\u003e\n\u003cp\u003eOn a hot day in Bristol, June 2023, a woman married a river. these are her reflections.\u003c\/p\u003e\n\u003cp\u003ePoems by Meg Trump, aka Mrs. Meg Avon\u003c\/p\u003e\n\u003cp\u003eIllustrations by Jemima Homer, designer of 'the dress'.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":52322865643854,"sku":"","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/avon.jpg?v=1742572028"},{"product_id":"i-could-not-ask-you-to","title":"I Could Not Ask You To","description":"\u003cp\u003eby Helena Fornells Nadal\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eMouse Press\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eSoftcover, 2025\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e52 pages\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e... those in the hot dark room\u003cbr\u003eare alive in – in frames\u003cbr\u003ePaper people of the oppressed\u003cbr\u003elanguage\u003cbr\u003e\u003cbr\u003e                               (from 'Shadow's Shadow')\u003cbr\u003e\u003cbr\u003eHelena Fornells Nadal's I COULD NOT ASK YOU TO harnesses the self and its shadow to convey, or rather define, a completely unique way of seeing. Marked by a chatty causality that frequently leads to a sudden assertion - inarguable, deadpan statements - these are exploratory, improvisatory, elegiac poems, at once decisive and tentative, surgically precise and strategically unclear. ‘Cows. They stand there’, we are reassured, early on, before finding ourselves quickly transported to a moment ‘where you open \/ like a lotus \/ that has abandoned poetry, looked at it \/ from the outside’.\u003cbr\u003e\u003cbr\u003eThese pieces manage to evoke a double impression of an immediate and vivid reality, and an aerial, abstract perspective. They are attentive to landscape, friendship, loss, memory, the spaciousness and drift of a dream state, of lyric distraction, of consciousness-as-environment – and also how these experiences are intruded upon by the realities of a life ‘outgrown by weeds \/ in someone else’s muscular garden’. They are concerned, too, with metamorphosis and displacement, with how materials of the exterior are changed by being brought inside; similarly, by the ways in which words and voices change according to context, border crossings, (linguistic) colonisation. The result of encountering this work is a continuous sharpening of attention and feeling.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eHelena Fornells Nadal is a Catalan poet based in Edinburgh. She is currently engaged in research on the intersection between land politics and ecopoetics. Her work has appeared in publications including\u003ci\u003e DATABLEED\u003c\/i\u003e, \u003ci\u003eMagma\u003c\/i\u003e, \u003ci\u003eGutter\u003c\/i\u003e, \u003ci\u003eNew Writing Scotland\u003c\/i\u003e, \u003ci\u003ePROTOTYPE 6\u003c\/i\u003e and \u003ci\u003ePropel\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":54972747907406,"sku":null,"price":8.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/kit24lta.png?v=1760368477"},{"product_id":"i-visit-my-aunt-in-montemarcello","title":"I Visit My Aunt in Montemarcello","description":"\u003cp class=\"MsoNormal\" style=\"line-height: normal;\"\u003eBy Phoebe Eccles\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eMouse Press\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eSoftcover, 2024\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e56 pages\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003ePart elegy, part love poem, and with the springy insistence of an epistolary text, it shows how the agonies, elations, and ‘disordered rhythms’ of those modes might combine into a strange emulsion. Through a process of ‘glitchy metonymy’, the people examined here so intently (a mother, an aunt, a lover called Cope) become equivalent to other objects in the world, like a road or a rock or a shrubbery; the poem also allows for the possibility that those objects may get up and speak. (‘We lilies want to swap our aphorisms for legs.’) Even as Eccles reaches out to a ‘vegetablish chorus’ of interlocutors - Prynne, Proust, Blanchot, Baldwin, Weber, Kierkegaard - for observations on love, grief, language and labour, the poem immediately metabolises them as part of a vividly-evoked ongoing life. I VISIT MY AUNT is an ambient symposium which happens in the open air, among plants and flowers, while pretending to take a phone call, during a pause of unspecified length, while asleep.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003ePhoebe Eccles is from London, where she currently lives. She has had her poetry published by magazines including \u003ci\u003eAmbit, bath magg, Deleuzine\u003c\/i\u003e and \u003ci\u003eThe Stinging Fly.\u003c\/i\u003e She is the creator of three zines: \u003ci\u003eAlgae Zine, Doll Zine\u003c\/i\u003e and \u003ci\u003eHeaven is Beneath This City\u003c\/i\u003e.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":54972751479118,"sku":null,"price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/a5hmld28.png?v=1760368692"},{"product_id":"neutral-wisowb","title":"Neutral Wisowb","description":"\u003cp style=\"line-height: normal;\" class=\"MsoNormal\"\u003eBy Connor Jones\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003eMouse Press\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003eSoftcover, 2024\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e32 pages\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003ePart elegy, part love poem, and with the springy insistence of an epistolary text, it shows how the agonies, elations, and ‘disordered rhythms’ of those modes might combine into a strange emulsion. Through a process of ‘glitchy metonymy’, the people examined here so intently (a mother, an aunt, a lover called Cope) become equivalent to other objects in the world, like a road or a rock or a shrubbery; the poem also allows for the possibility that those objects may get up and speak. (‘We lilies want to swap our aphorisms for legs.’) Even as Eccles reaches out to a ‘vegetablish chorus’ of interlocutors - Prynne, Proust, Blanchot, Baldwin, Weber, Kierkegaard - for observations on love, grief, language and labour, the poem immediately metabolises them as part of a vividly-evoked ongoing life. I VISIT MY AUNT is an ambient symposium which happens in the open air, among plants and flowers, while pretending to take a phone call, during a pause of unspecified length, while asleep.\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003ePhoebe Eccles is from London, where she currently lives. She has had her poetry published by magazines including \u003ci\u003eAmbit, bath magg, Deleuzine\u003c\/i\u003e and \u003ci\u003eThe Stinging Fly.\u003c\/i\u003e She is the creator of three zines: \u003ci\u003eAlgae Zine, Doll Zine\u003c\/i\u003e and \u003ci\u003eHeaven is Beneath This City\u003c\/i\u003e.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":54972762554702,"sku":null,"price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/zaqoxb9q.png?v=1760369152"},{"product_id":"saborami-expanded-facsimile-edition","title":"SABORAMI: Expanded facsimile edition","description":"\u003cp\u003eby \u003cspan\u003eCecilia Vicuña\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eBook Works\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e224 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAn account of political struggle and precarious beauty…today \u003ci\u003eSaborami\u003c\/i\u003e offers us a delicate, undying vision of collective renewal at a time of desperation, when fury and sorrow might seem the only possible responses. – Henry Broome, \u003cem\u003eBOMB Magazine\u003c\/em\u003e\u003ci\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eHow many artists are there? Choose where you want to work, choose. Invent your task, do it! All together to destroy reactionary ideas, bourgeois ideology, individualism, solemnity, all white, European, capitalist ways of existence! – Cecilia Vicuña, \u003ci\u003eSaborami\u003c\/i\u003e, 1973\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eCecilia Vicuña created \u003ci\u003eSaborami \u003c\/i\u003ein the aftermath of the September 1973 military coup in Chile. Combining poetry, journal entries, documentation of artworks including assemblages and paintings, the book was published in Devon, England in an edition of 250 hand-made copies by the artist-led Beau Geste Press. It was one of the first artistic responses to the violence of the fascist junta.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eIn recent years, Vicuña has gained increasing renown, including a retrospective at Kunstinstituut Melly (FKA Witte de With, 2019) and installations at the Guggenheim (2022); Tate Modern (2023) and the Malta Biennale (2024). \u003ci\u003eSaborami \u003c\/i\u003eis one of her most important works, made at a turning point in her life and career, and reverberating through to the present day. Though the book is highly regarded, it has also been hard to access. This new, expanded facsimile edition remedies this oversight, and restates \u003ci\u003eSaborami\u003c\/i\u003e as a central example of artistic engagement in material and revolutionary resistance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eEngaging obliquely with the legacies of surrealism, contemporaneous experiments in concrete poetry and the British conceptual art practices of the 1960s and 1970s, \u003ci\u003eSaborami\u003c\/i\u003e is part of an exilic and internationalist tradition. Years ahead of her time, Vicuña outlines an eco-socialist and feminist vision in the face of defeat.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eCoinciding with the fiftieth anniversary of the book’s original publication and of the coup in Chile, this expanded edition contains a new introduction by art historian and curator Amy Tobin and poet and writer Luke Roberts. It includes rarely seen archival material from Vicuña’s time in London, such as contributions to the feminist newspaper Spare Rib, commentary from BBC coverage, and her role in Artists for Democracy in Chile and other solidarity campaigns.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eSaborami: Expanded facsimile edition\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e by Cecilia Vicuña, is edited by Amy Tobin and Luke Roberts, designed by James Langdon, and published by Book Works in an edition of 1,000 copies. This project has been generously supported by the Jan Michalski Foundation, Cecilia Vicuña, King’s College London, and Newnham College, University of Cambridge.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eCecilia Vicuña is an internationally renowned visual artist and poet. Born in Chile in 1948, she lived in England between 1972 and 1975. After a period in Bogota, Colombia, she settled in New York City, where she lives and works today. Her New and Selected Poems were published by Kelsey Street in 2018. At the Venice Biennale in 2022 she won the Golden Lion award for Lifetime Achievement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eLuke Roberts, author of \u003ci\u003eHome Radio\u003c\/i\u003e (2021), is Senior Lecturer in Modern Poetry at King’s College London.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAmy Tobin, author of \u003ci\u003eWomen Artists Together: Art in the Age of Women’s Liberation\u003c\/i\u003e (2023), is Associate Professor in History of Art and Curator at Kettle’s Yard, University of Cambridge.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55025439605070,"sku":null,"price":28.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/saborami_cover.jpg?v=1761129997"},{"product_id":"go-to-reception-and-ask-for-sara-in-red-felt-tip","title":"Go to reception and ask for Sara in red felt tip","description":"\u003cp\u003eby Holly Pester\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eBook Works\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePaperback, 2015\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e112 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAnecdote literally means unofficial, unpublished knowledge. It is non-quantifiable and contrary to evidence; anecdotal data won’t ever support a rule, or provide the basis of a law or theory. Here’s an anecdote for you: in The Percy Anecdotes, a collection of nineteenth-century literary tidbits collated by the Percy brothers, it says that “anecdote” was ancient Greek slang for an unmarried woman. Personified, the anecdote becomes aberrant and female, an example of marginalia. As a form of practice and research, the anecdotal is a complex of “theory in the flesh of practice”. Archives are full of fragments and proper scholarly practice honours this incompleteness. The anecdote, however, fantasises connections, negentropically forming stories from fragmentary information. Materiality and story come together over the bones of an archive. – Holly Pester\u003cbr\u003e\u003cbr\u003eUsing anecdote as a method to generate a collection of poetry, critical fictions and literary fragments \u003ci\u003eGo to reception and ask for Sara in red felt tip\u003c\/i\u003e performs a response to the history and function of the Women’s Art Library. The stories segue through the archive of personal correspondence, artists’ slides and administrative papers, as well as a poster archive documenting exhibitions, parties and activism in 1980s Feminist art movements. Anecdotal, gossiped and mistreated histories form aberrant narratives as a result of an inverted mode of archival research.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eThese stories, poems and fragments were composed through engagement with the Women’s Art Library in 2014, with the support of a bursary ‘Living with Make: Art in the Archive’ that was co-funded by WAL and Feminist Review, in association with Whitechapel Gallery.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55025586143566,"sku":null,"price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/Pester-72-e1584634187479.jpg?v=1761133141"},{"product_id":"dialecty-new-minstrelsy-of-the-scottish-border","title":"DIALECTY New Minstrelsy of the Scottish Border","description":"\u003cp\u003eby \u003cspan\u003eHarry Josephine Giles \u0026amp; Martin O’Leary\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eBook Works\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePamphlet, 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e12 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eWe met in the border town of Berwick-Upon-Tweed, built a computer program from repurposed old code and self-authored new code, tweaked and tuned it to the ballad text of Walter Scott’s Minstrelsy of the Scottish Border, and set it to write new ballads in the same form and language. We are asking of the program no more than was expected of the ballads’ first singers; in recording the results, we are as editorial as Scott. The program, as with all poetry, lives in the border zone between success and failure, to teach us something about language, something about poetry, and everything about what it means to create. – from ‘The Computer Writes a New Old Language’, \u003ci\u003eNew Minstrelsy of the Scottish Border\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eCommissioned from open submission, Harry Josephine Giles \u0026amp; Martin O’Leary have used a neural network to produce poems that return to the vernacular language found in the ballads and poetry of nineteenth century Scotland and Northern England.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eHarry Josephine Giles is a poet and performer and Martin O’Leary is a digital artist and designer: they came together from their different disciplines and perspectives over a shared interest in online texts, twitterbots, procedural generation and computer poetry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eDialecty\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e, conceived by Maria Fusco with The Common Guild, considers the uses of vernacular forms of speech and writing, exploring how dialect words, grammar and syntax challenge and improve traditional orthodoxies of critical writing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55025720983886,"sku":null,"price":8.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/Dialecty_New-Minstrelsy-of-the-Scottish-Border_covermockup-scaled.jpg?v=1761137339"},{"product_id":"tremble","title":"Tremble","description":"\u003cp\u003eby Fatema Abdoolcarim\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eMonitor Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePamphlet, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e40 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eTremble\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e, Fatema Abdoolcarim’s debut collection of poems, is an intimate and involving sequence on fertility and faith. A memoir in verse, these poems relate encounters with the animal other, the uncertain, but always echoing the tender rituals of family, food, prayer. Abdoolcarim thinks through what it means to care – and to mother – at a time where atrocity makes those systems of loving seem out of reach. \u003ci\u003eTremble \u003c\/i\u003etraces the sensual and unknown spaces of desire, creating a hopeful lyric in spaces of private and global loss.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eThe remarkable poems that make up \u003ci\u003eTremble\u003c\/i\u003e record a body’s descent into vertiginous, all-encompassing desire. Abdoolcarim is fearless in her determination not to look away from what is monstrous in our world, yet her writing also reflects what it is to be fully human. The clarity of her image-making eye, her wit, her compassion, and her rage carry us and challenge us to stay with the trouble, to set our ears to the darkness and listen for the beauty in its hollow ring, to allow it to speak to the very limits of our longing. Her words shimmer like a pool of jade at the centre of a black ceramic bowl, a sensual riposte to Hélène Cixous’ imperative: \u003ci\u003eWrite! Writing is for you, you are for you; your body is yours, take it\u003c\/i\u003e. – Rebecca Hurst\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eFatema Abdoolcarim is the rare artist I would follow anywhere, whose work astounds and moves me across every genre. \u003ci\u003eTremble\u003c\/i\u003e is a gift of profound proportions, conveying with her signature brilliant and caring gaze the variable inner and outer textures of life. I hold this remarkable text—its vast and intimate reach—to my chest in gratitude. – Gabrielle Bates\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55045040898382,"sku":null,"price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/dk3n41ah_f49a50ea-080d-4f03-aa15-ec7d999da393.png?v=1761392540"},{"product_id":"snagged-on-a-red-thread","title":"Snagged on a red thread","description":"\u003cp\u003eby Jazmine Linklater\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eMonitor Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePamphlet, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e28 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eSnagged on red thread \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eis a long poem of protest, power and complicity. Jazmine Linklater articulates how the apparatus of Empire is encoded in the structures we live in: militarised sights set on schoolyards, bargaining arms deals with teenagers, surveilling civic squares, co-opting institutions. And yet \u003ci\u003eSnagged on red thread\u003c\/i\u003e is compelled to march, to embroider, to bear witness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eWhat is it to only know the word sweetheart in the language of people being killed in your name? How do we comprehend the paltriness of our gestures against genocide? The speaker of Jazmine Linklater’s \u003ci\u003eSnagged on red thread\u003c\/i\u003e moves within the intimacies of complicity, not excluding themselves from the we whose taxes fund genocide, or succumbing to individualising games of guilt or absolution. The poem rather weaves then with now – how the “war on terror” normalised the murder of Arabs in the “Western” imaginary for generations. It snags constantly on irresolution, not attempting to tie anything up, but always manages to locate the right enemy. – Mira Mattar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\" class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55045076091214,"sku":null,"price":11.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/47fjn1xh.png?v=1761393493"},{"product_id":"enemy-of-the-sun-poetry-of-palestinian-resistance","title":"Enemy of the Sun. Poetry of Palestinian Resistance","description":"\u003cp\u003eby Edmund Ghareeb \u0026amp; Naseer Aruri (Eds.)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eSeven Stories Press\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e208 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eA collection of Palestinian poetry originally published in 1970 that resonates with liberation and civil rights struggles around the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eThis updated edition for the current generation of activists features new poems translated by Edmund Ghareeb, an internationally recognized Lebanese-American scholar, and a new foreword by Dr. Greg Thomas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eIn 1971, in the wake of George Jackson’s killing by San Quentin prison guards, a poem entitled “Enemy of the Sun” was found among ninety-nine books in the revolutionary’s cell. The handwritten poem came to be circulated in Black Panther newspapers under Jackson’s name, assumed to be a vestige of his more than a decade long incarceration. But Jackson never wrote the poem; it was authored by the Palestinian poet Sameeh Al-Qassem and had been included in an anthology of the same title a year before Jackson’s death.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eOriginally published by Drum \u0026amp; Spear, the publishing arm of the Student Nonviolent Coordinating Committee, \u003ci\u003eEnemy of the Sun: Poetry of Palestinian Resistance\u003c\/i\u003e links twelve poets working in a poetics of refusal and of hope. Bearing witness to decades of Zionist occupation, to a diaspora exiled in refugee camps and writers held captive in Israeli jails, the collection offers a means to an end: “as poetry, yes it sings—as bullets on a mission; it calls for change.” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eIn each poem is a whole life—joy, love, beauty, rage, sorrow, suffering—and in each life is a record of resistance: the traces of a people who refuse to leave their homeland, who time and again alchemize grief into principled struggle. In the intertwined histories of this book, and in the unyielding political edge of the poems themselves, is a long story of solidarity between oppressed peoples: from Palestine to South Africa to Algeria to Vietnam to the United States.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55045171839310,"sku":null,"price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/7S-Enemy_of_the_Sun_PB_cov_draft_C-1-f_feature-b304f9aff1237de1252b97940b225563.png?v=1761400393"},{"product_id":"coal","title":"coal","description":"\u003cp\u003eby Remi Graves\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eMonitor Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePamphlet, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e56 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eBlackfriars Bridge, 1905. A Black Cherokee man is arrested and charged as a ‘wandering lunatic’. In the City of London asylum, he is photographed; looking directly at the camera, he insists and refuses. He dies in the asylum one year later.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eIn the absence of Paul Downing’s own account, Remi Graves writes from and into the trans archive, presenting a sequence of poems and experiments mapping resonances between selves across historical records. Through river crossings and library passes, chance meetings and visitations, \u003ci\u003ecoal\u003c\/i\u003e is a document that interrogates what we do with the scattered fragments of a life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ecoal\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e is betwixt. It is from the intimate galaxy where all our lost things (loves, threads, pocket treasures, records, last dimes) don’t know they’re lost. A place made out of time. Of words and no words, of stones and psalms, of lines and kin. Lapidary and lineal. Remi Graves writes like memory – recursive, invented, porous, specific – between this moment and the past – backforthly – always “shifting away and coming closer.” Innovative, quiet, and wholehearted, this book is an ouroboros or an ocean of yearning and arrival. I want to live in its loop, in its depths. Maybe I do, maybe we all do. Maybe that’s why it feels like home. — Anne de Marcken\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eThis is a searing, spectral excavation of Black transmasculine fugitivity, where its archive is both wound and portal. Through a lyricism that is at once tender and unflinching, Graves conjures Paul Downing, a Black Cherokee trans man un\/lost to the violent annals of history, staging a transtemporal communion that defies the linearity of time. Here, racialized gender is a geography to be escaped (“if gender be a place \/ let me be unfindable there”), and the body is a site of both rupture and resurrection. With poems that oscillate between elegy and incantation – indeed, prayerful blasphemy – Graves refuses a necropolitical gaze, opting instead for a poetics of refusal and shimmering possibility. — Marquis Bey\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eRemi Graves’ \u003ci\u003ecoal\u003c\/i\u003e performs a circuit between “seeing” and “knowing”, an experiment in saturation and narrative that is immensely moving. It “did something to me”, as Graves writes, evoking a book that's closed without the place being marked. One of my favourite pages is titled ‘Dream Vision of Cole and Paul meeting as musical score’. Below it is a drawing that emanates light touch and extemporary delight. Open the book and there it is, a page you did not expect to see. Here is Paul, who died on the summer solstice in 1906. Imagine the sun burning a hole through the paper. Look through the hole and there's Paul, living and dying in excess of the archive's capacity to behold the extent and possibility of Paul. Leave flowers on the ground. Write. Keep going until you reach it, the place where “times touch”, and a portal opens. — Bhanu Kapil\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ecoal\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e is a poignant engagement with Black trans history. Remi Graves’ search for the elusive presence of Paul Downing in the archive perfectly captures the sense of longing for connection across time. — Onni Gust\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eThis is an exquisitely poised and sensitive collection of poems. In their search for Paul Downing, Remi Graves takes us beyond the archives into a dream-like elsewhere that admits the impossibility of retrieval, and yet manages to conjure Paul Downing, fleetingly, respectfully, and somehow consensually. Each piece is a radical act of language, love, kinship and attention, and this collection is unmissable, sublime. — Fiona Benson\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55045279285582,"sku":null,"price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/n3mkr54i.png?v=1761401153"},{"product_id":"she-moved-through-the-fair","title":"She moved through the fair","description":"\u003cp\u003e\u003cspan\u003eBy Edwina Attlee, Grace Connolly Linden, Rey Conquer, Aisha Farr, Hugh Foley, Daisy Nutting, Angela Shackel, George Townsend\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eFair Organ\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePamphlet, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e44 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eA pamphlet made in response to the song ‘She Moved \/ She Moves Through the Fair.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eSecond group-publication from The Fair Organ, featuring ghosts, hands, organs, fairings, zoetropes and automatons. Anything that moves, and touches.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eIncluding interviews with Sally Alexander and Kevin Meayers (of Kevin Meayers Organs).\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55068603613518,"sku":null,"price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/tumblr_inline_t44xkec9yu1yxjt13_500_1.jpg?v=1761744556"},{"product_id":"love-and-beauty","title":"Love and beauty","description":"\u003cp\u003eby Christina Petrie\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eSelf-published\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e100 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eThe ever-changing forms of love take shape on the page in this dynamic book of lyric poetry and ink drawings by Christina Petrie.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55086196752718,"sku":null,"price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/IMG_1506.jpg?v=1762012287"},{"product_id":"quiet-fires","title":"Quiet fires","description":"\u003cp\u003eby andriniki mattis\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAnamot Press\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePaperback, 2023\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e46 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eQuiet Fires\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e, the debut poetry collection from andriniki mattis, queries the everpresent questions of Black lives. Be it in a bakery in Brixton, London, at a corner on Malcolm X Blvd, Brooklyn, or the pews of Notre Dame, Paris – whether crossing violent borders on land or in gender, we know how it is to be in a familiar place that feels foreign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAs we follow along on bike rides over the Manhattan Bridge or sit alongside queer lovers in Bushwick, mattis reflects on the profound impact of pandemics, indifference, and heartbreak. In these lyrical and intimate poems that interrogate white spaces on the page and in the world with evocative metaphors, we wonder: “\u003ci\u003eis there ever a party if you're always working this skin\u003c\/i\u003e”— where can we feel safe and loved?  In a world of climate change and the constant \u003ci\u003e“twilight of violence”,\u003c\/i\u003e be it gun violence or the expectations of capitalism, quiet fires erupt in these errant everyday moments. Centered around the experience of the Black queer, trans body, andriniki gabriel mattis uncovers the complexities of identity and the quest for self-discovery.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55086200127822,"sku":null,"price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/0diugfia.png?v=1762012839"},{"product_id":"inheritance","title":"Inheritance","description":"\u003cp\u003eby Taylor Johnson\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eAnamot Press\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePaperback, 2023\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e73 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003ci\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eFor a long time I wondered what English meant, if it was worth its weight in enlightenment. \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e- from Bolaño Blued\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eTaylor Johnson’s debut poetry collection, \u003ci\u003eInheritance\u003c\/i\u003e, explores the complexities and limitations of language, physicality and capitalism. Resisting singularities, each poem emerges with a distinct sound, space and sensibility. Whether driving in a Lincoln Town Car; moving through pine forests and becoming immersed in the sounds of animals and nature; languishing in a lovers’ invitation, transcending from the syncopation of Go-go or walking the pavements of Washington D.C.—‘dissolving into sound’. Johnson’s critical perspective is rooted in connection. These poems gesture towards the tools we might need for living alongside rather than against or in spite of an inundation of daily oppressions. Be it redefining trans Blackness, environmental degradation, or land ownership and labour. With receptiveness and tenderness Johnson strolls around language, listening to silence—inheriting it, filling it and remaking it. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55086207598926,"sku":null,"price":12.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/pf0db8fb.png?v=1762013091"},{"product_id":"48-kg","title":"48 kg.","description":"\u003cp\u003eby \u003cspan\u003eBatool Abu Akleen\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eTranslated from the Arabic by the poet, with Graham Liddell, Wiam El-Tamami, Cristina Viti \u0026amp; Yasmin Zaher\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eTenement Press\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e135 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eA debut collection from the Palestinian poet, a bilingual assembly of forty-eight poems in which each work accounts for a single kilogram; a body’s mass; a testament to a sieged city; a vivid and visceral voicing of the personal and the public in the midst of unspeakable violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"line-height: normal; mso-hyphenate: auto;\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\"\u003eBatool Abu Akleen is a Palestinian poet and translator from Gaza City. At the age of fifteen, 2020, she won the Barjeel Poetry Prize for her poem ‘I didn’t steal the cloud,’ which was published in the Beirut-based magazine \u003ci\u003eRusted Radishes\u003c\/i\u003e thereafter. Abu Akleen’s poetry has been translated into several languages and featured in numerous international publications, including \u003ci\u003eArabLit\u003c\/i\u003e and \u003ci\u003eThe Massachusetts Review\u003c\/i\u003e, amongst others. Her poem ‘Gunpowder’ was awarded third place in the 2025 \u003ci\u003eLondon Magazine\u003c\/i\u003e poetry prize, and her work was included in the July 2024 issue of \u003ci\u003eModern Poetry in Translation\u003c\/i\u003e, ‘Salam to Gaza.’ Abu Akleen was \u003ci\u003eModern Poetry in Translation\u003c\/i\u003e’s 2024 ‘Poet \/ Translator in Residence.’ Her poetry has appeared in editors Mohammed Al-Zaqzooq and Mahmoud Alshaer’s anthology, \u003ci\u003eLetters from Gaza\u003c\/i\u003e (Penguin, 2025) and—alongside Nahil Mohan, Sondos Sabra and Ala’a Obaid— she is one of the four Gazan authors included in \u003ci\u003eVoices of Resistance: Diaries of Genocide\u003c\/i\u003e (Comma Press, 2025).\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55115969167694,"sku":null,"price":17.5,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/48Kg_Cover_v2.jpg?v=1762873977"},{"product_id":"if-i-must-die","title":"If I Must Die","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby Refaat Alareer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eO\/R Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e280 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eThe renowned poet and literature professor Refaat Alareer was killed by an Israeli airstrike in Gaza City alongside his brother, sister, and nephews in December 2023. He was just forty-four years old but \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ehad already established a worldwide reputation that was further enhanced when, in the wake of his death, the poem that gives this book its title became a global sensation. “If I Must Die” is included here, alongside Refaat’s other poetry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eRefaat wrote extensively about a range of topics: teaching Shakespeare and the way Shylock could be appreciated by young Palestinian students; the horrors of living under repeated brutal assaults in Gaza, one of which, in 2014, killed another of his brothers; and the generosity of Palestinians to each other, fighting, in the face of it all, to be the one paying at the supermarket checkout.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eSuch pieces, some never before published, have been curated here by one of Refaat’s closest friends and collaborators. This collection forms a fitting testament to a remarkable writer, educator, and activist, one whose voice will not be silenced by death but will continue to assert the power of learning and humanism in the face of barbarity.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300095115598,"sku":null,"price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/ifimustdie.png?v=1769691211"},{"product_id":"jokes","title":"Jokes","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby Keston Sutherland\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eThe Last Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e96 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eJokes\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e is a crash course in psychic disintegration for the genocide generation. Ever wondered what a spoonbill thinks of peremptory norms? Or what a hippo can do with an egg-slice? What’s the secret of the success of men like David Papazian and Johnnie Moore, who get to run the Gaza Humanitarian Foundation, while poetry-reading demographics, from the higher and intermediate managerial and professional occupations down to the footwells of unskilled manual self-erasure, lie around standing up for themselves and fornicating with the void? An Author’s a Joke, to all manner of Folk, wherever he pops up his Head, his Head, wherever he pops up his Head, according to Fielding. But why? The 27 jokes of \u003ci\u003eJokes\u003c\/i\u003e unfold over the course of a duration-block, in an exclusive interior, under new management, in the capable trotters, paws, hooves, claws, tentacles, jaws, beaks, and blowholes of a fabulous parliament of beasts, some drunk, some dead, some leery, some high, some tender, in the tradition of Boccaccio or Isaiah. They are all funny.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300167041358,"sku":null,"price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/Jokes-cover-front-805x1200.png?v=1769694104"},{"product_id":"peach-machine","title":"Peach Machine","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby Imogen Cassels\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eThe Last Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePamphlet, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e20 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePeach machine \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ecomprises nine months of poems, tracing a recurrent cycle of sickness, heartbreak, reparation, and recovery from late summer back into early Spring. The work is roughshod: grieving, oxygen-starved, jetlagged, reflective, and relieved.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300191781198,"sku":null,"price":9.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/PM-cover-1-832x1200.jpg?v=1769694942"},{"product_id":"in-abeyance","title":"In Abeyance","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby John Wilkinson\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eThe Last Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e64 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eWith this new book of sedimented lyric, John Wilkinson’s poetry enters a terrain of creatures flattened in shale, in flat screen and in digital code. If Silicon Valley would repopulate Jurassic Park and defeat death, Wilkinson’s poetry would make actual what slides past in the disregarded day, whether the flattening of a city or the return of seasonal blossom. This poetry swells dry roots; it breaches the total coverage that flatlines the heart’s response, through its urgent and generous rhythms.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300258333006,"sku":null,"price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/In-Abeyance-cover-787x1200.png?v=1769697542"},{"product_id":"first-nettles","title":"First Nettles","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby Dom Hale\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eThe Last Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e122 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eFirst Nettles\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e collects poems written between 2021 and 2024, from precarious off-key lyrics to sprawling elegies of damaged life. A book of flailing, desperate music, hurt and hopeful, held together by pins and gaffer tape, art and courage and comradeship. Includes the sequence “Seizures” (2022) – “perfect in its openness and lyrical disfigurement” (Danny Hayward).\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300295197006,"sku":null,"price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/First_Nettles_cover_web.jpg?v=1769699602"},{"product_id":"my-earliest-person","title":"My Earliest Person","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eJeniffer Soong\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eThe Last Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e64 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eNone of this matters. It’s only supposed\u003cbr\u003eto save you from yourself. None of this\u003cbr\u003ematters, when I try to take it out of me into\u003cbr\u003ethe world, which to find I can praise\u003cbr\u003e                                                   I go out to\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eLyrical drifts warped by syntax into blizzarding softness; odes to beauty, meaning, and inexperience splintered by history and grammar. An aqueous surface marbled with the lightest possible touch, lost footings arrested by change’s near-griplessness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eComposed across two winters between late 2022 and early 2024. Contains 43 poems.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300299358542,"sku":null,"price":14.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/MEP-cover-web.jpg?v=1769699935"},{"product_id":"my-discovery-of","title":"My Discovery Of","description":"\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby Dan Eltringham\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eKulvert Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e48 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e'As the wind rises\u003cbr\u003eand we try to live\u003cbr\u003eit’s hot \u0026amp; dry, but it’s the wind\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eKewa\u003cbr\u003eSanta Ana\u003cbr\u003eTesque\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePueblo stucco simulacra\u003cbr\u003edriedchilerevival\u003cbr\u003ebricks of baked mud\u003cbr\u003eThe New Mexico Realtors Association\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; mso-ansi-language: ES-CL;\" lang=\"ES-CL\"\u003eCalf Cañón\u003cbr\u003eCerro Pelado\u003cbr\u003eHermit’s Peak\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eTotally grammable\u003cbr\u003eatardecerdeincendio\u003cbr\u003eforestal\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eAs the 5th age ends\u003cbr\u003eand we try to live\u003cbr\u003ebut the wind….'\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!-- [if !supportLineBreakNewLine]--\u003e\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!--[endif]--\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eFrom: Santa Fe Qui Bono?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e'As the winds of fascism and late-capitalist crisis sweep the US, what a deep comfort to see the country through Dan Eltringham’s perceptive eyes. I love these poems’ various singing, as they take in radiant particularities of deserts, mountains, lakes and rivers, landscapes shaped by waves of colonization and trade, the “hypervisible \u0026amp; invisible,” histories of revolt and histories of wildfire, moments when history might have been otherwise. These poems, full of grass and barbed wire, grain silos and anarchists, capture the beauty and tragedy of this settler-colonial project and the land that it has shaped, that shapes us in return. I’m grateful for the complexity and clarity of Dan’s vision, grateful he’s touched down here and brought back these accounts.’ - MC Hyland, author of Walks and Weathers (Beauty School Editions LLC, 2025)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e'My Discovery of,' is a poetic journal of traveling America. Eltringham writes of borders and of states, of history and mythology, an exploration of place and the self in the 'untamed West,' where the 'cowboys are long gone,' and the rawness of urban sprawl tussles with the wildness of nature, the mountains remain and nations 'dissolve in collectivity.'\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300462838094,"sku":null,"price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/MY_DISCOVERY_OF.webp?v=1769708057"},{"product_id":"holy-blue","title":"Holy Blue","description":"\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby Fran Pope\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eKulvert Books\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e44 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e'Too late, the bees said [garbled things]\u003cbr\u003esaid repetition, repetition. Over and again\u003cbr\u003ethe scrape\u003cbr\u003eof perpetuity. The chain to chain to chain.\u003cbr\u003eWith hollow stem\u003cbr\u003ewe knew their bending labour\u003cbr\u003eunder tessellating shifts (…)\u003cbr\u003eCrucifer!\u003cbr\u003eI bar my arms against the scythe\u003cbr\u003eof not-this-time.'\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!-- [if !supportLineBreakNewLine]--\u003e\u003cbr style=\"mso-special-character: line-break;\"\u003e\u003c!--[endif]--\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003efrom Crucifer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eThe poetry of 'Holy Blue' is airy and open, ruminating on the breath. As it travels through present, past and future, between fragments of a remembered world, a form of poetic expression unravels itself - \"knowing opens like a wing\". The poems are beautifully woven and personal, stemming from the musicality of performance, the cadences of life, love, friendship and our interdependent connection with the world. Pope's poetry is sincere yet experimental, it invites its audience to participate in full, and translates the language of emotions in an 'honest,' and 'naked,' way - ''you know it does me good to speak the truth, the truth is citrus and astringent.''\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\" class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eFran Pope is a poet, translator, and writer living in Bristol. She has published two poetry collections, The Brazen Forecast and Quarters, and her poems and short stories have appeared in Carte Blanche, Interim, and Phantom Drift, among others. As a music journalist, Fran writes reviews and features, as well as exploratory pieces on music’s intersections with culture and society.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55300476207438,"sku":null,"price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/HOLY_01.webp?v=1769709146"},{"product_id":"le-plaisir-de-la-cote-the-pleasure-of-the-coast","title":"Le plaisir de la côte \/ The Pleasure of the Coast","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eby J. R. Carpenter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePamenar Press\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003ePaperback, 2023\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e100 pages\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003ci\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eLe plaisir de la côte \/ The Pleasure of the Coast\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e revels in the sketchy subjectivities lurking beneath the smooth surface of the science of imperial measurement, blurring colonial boundaries by calling attention to the messy moments and methods in which they were drawn. The title and much of the text borrows from Roland Barthes, \u003ci\u003eLe plaisir du texte\u003c\/i\u003e (1973). The word ‘text’ has been replaced with the word ‘coast’ throughout. This détourned philosophy infuses excerpts of scientific writing by the late-eighteenth century French hydrographer Charles François Beautemps-Beaupré with desire. These libidinally-charged phrases intermingle with passages from \u003ci\u003eSuzanne et le Pacific\u003c\/i\u003e (1921), a symbolist novel by Jean Giraudoux, in which a young French woman wins a trip around the world and becomes shipwrecked on a Pacific island in roughly the same region surveyed by Beautemps-Beaupré 1791-1793. This tripartite language system unfolds in fragments, offering an inchoate yet insistent opposition to the mechanistic view of science based on the assumption of an objective reality. \u003ci\u003eThe Pleasure of the Coast\u003c\/i\u003e is imperfectly bilingual. Both the original French and the English translations have been appropriated, exaggerated, détourned, corrected, and corrupted. Who, then, is the author of this work? The author is not dead. The author is multiple: multimedia, multilingual, polyvocal. \"Which body?\" Barthes asks, \"We have several.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eJ. R. Carpenter \u003c\/span\u003e\u003cspan style=\"font-family: 'Times New Roman',serif;\"\u003eis an artist, writer, and researcher working across performance, print, and digital media. Questions of place, displacement, migration, colonialism, and climate pervade her work. Her digital poem \u003ci\u003eThe Gathering Cloud\u003c\/i\u003e won the New Media Writing Prize 2016. Her print collection \u003ci\u003eAn Ocean of Static\u003c\/i\u003e was highly commended for the Forward Prize 2019. Her collection \u003ci\u003eThis is a Picture of Wind\u003c\/i\u003e was listed in The Guardian’s best poetry books of 2020 and included in the Digital Storytelling exhibition at The British Library 2023.\u003c\/span\u003e\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":55305502720334,"sku":null,"price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/92vgz5bk.png?v=1769962349"},{"product_id":"portents-and-portals-new-and-selected-poems","title":"Portents and Portals. New and Selected Poems","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eby Eleanor Rees\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eGuillemot Press\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eHardback, 2025\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e292 pages\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eEleanor Rees's \u003ci\u003eNew \u0026amp; Selected Poems\u003c\/i\u003e gathers together a body of work spanning three decades, five collections and several pamphlets, along with a new sequence \u003ci\u003eFive Breaths\u003c\/i\u003e. It follows \u003ci\u003eTam Lin of the Winter Park\u003c\/i\u003e (Guillemot, 2022), \u003ci\u003eThe Well at Winter Solstice\u003c\/i\u003e (Salt, 2019), \u003ci\u003eBlood Child\u003c\/i\u003e (Pavilion, 2015), \u003ci\u003eEliza and the Bear \u003c\/i\u003e(Salt, 2009), and \u003ci\u003eAndraste’s Hair\u003c\/i\u003e (Salt, 2007), which was shortlisted for the Forward Prize for Best First Collection. Eleanor is the recipient of an Eric Gregory Award and a Northern Writers’ Award, and she is a senior lecturer at Liverpool Hope University.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003ePraise for Eleanor’s work:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eThese are poems written in a state of grace, trusting in the infinite wisdom of the universe. And Rees gives us hope that all manner of things shall be well in the end, if we are only able to shift our vision. - Rosi Braidotti\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eThis poet offers the reader new and exact ways of articulating the power of place to mirror human longing, sorrow, and fidelity to emotional purpose. - Penelope Shuttle\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e…an ambitious, experimental voice vibrantly charged with the energy of city life. - Carol Ann Duffy\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eCover art by Rebecca Freeman.\u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":59463394001230,"sku":null,"price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/rees.png?v=1776530983"},{"product_id":"talk-a-blue-streak","title":"Talk A Blue Streak","description":"\u003cp\u003eby Lila Matsumoto\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eMonitor Books\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003ePaperback, 2026\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e104 pages\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp\u003eIn 1990, a girl moves to the USA. She goes to school, learns English, becomes an American citizen, and aspires to become a writer. But what is she to make of the extravagance, bombast, and damage she encounters in the new country’s language and customs? And what about the shrink-wrapped hunks of frozen meat, hurricanes, and the cat-eye marbles scattered on the road?\u003c\/p\u003e\n\u003cp\u003eHugely pleasurable, in turns funny and dolorous, \u003cem\u003eTalk a Blue Streak \u003c\/em\u003eexamines how the act of writing declares a selfhood, but one that is always performative, looped, and curlicued.\u003c\/p\u003e\n\u003cp\u003e‘Matsumoto’s intense focus on the particularity of the world of things makes her one of our great contemporary not-so-still life artists.’ — Lucy Mercer\u003c\/p\u003e\n\u003cp\u003e‘A thought-provoking, soul-stirring read making the familiar feel new and the fleeting moments of life linger long after the final word.’ — Peter Gizzi\u003c\/p\u003e\n\u003cp\u003e‘\u003cem\u003eTalk a Blue Streak\u003c\/em\u003e is about girlhood, friendship and becoming yourself between registers and alongside someone else.’ — Jennifer Hodgson\u003c\/p\u003e\n\u003cp\u003e‘This elliptical, humorous text takes the uncanny and absurd virtu of a sun-faded, plastic, alien culture and spreads it out on the yard sale rug for all to see.’ — Graham Lambkin\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e‘There’s a “shambolic and candied jamboree” constantly streaming from the headphones: in Lila Matsumoto’s poems, it’s this road-tripping DIY “jangly lo-fi insurgency” that I love the most.’ — Tom Betteridge\u003c\/p\u003e\n\u003cp\u003e‘Reading these poems made me feel like I was having the best, funniest, most profound conversation with a friend. It made me feel like I love my funny friend, that this moment talking together is the distillation of all I could ask of life.’ — Nisha Ramayya\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":59874003255630,"sku":null,"price":15.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/lila.png?v=1781274616"},{"product_id":"somebody-should-have-pressed-record","title":"Somebody Should Have Pressed Record","description":"\u003cp\u003eby Galia Admoni\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eStrange Region\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003ePaperback, 2026\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e101 pages\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003eSomebody Should Have Pressed Record is an experimental, narrative poem depicting a woman navigating an emotionally fraught relationship with an imaginary version of Joseph Gilgun (Brassic, Misfits, This is England).\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003eThis collection depicts life at the frayed edge of reality, where loneliness grows legs and fingers. Where our intractable desire for companionship leaves stains on the walls, dirt under the nails, and a warm spot in the bed.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003eDrawing inspiration from the auto-destructive art movement and existentialist fiction, Admoni paints a wild-eyed portrait of modern romance and asks the question: what do we owe to that which we create?\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmain id=\"PAGES_CONTAINER\" class=\"PAGES_CONTAINER\" data-main-content=\"true\" tabindex=\"-1\"\u003e\n\u003cdiv id=\"SITE_PAGES\" class=\"Y3K28_ SITE_PAGES\"\u003e\n\u003cdiv id=\"rd40j\" class=\"i0StQr theme-vars rd40j\"\u003e\n\u003cdiv class=\"JJb9Mt\"\u003e\n\u003cdiv id=\"Containerrd40j\" class=\"Containerrd40j wH18kY\"\u003e\n\u003cdiv data-mesh-id=\"Containerrd40jinlineContent\" data-testid=\"inline-content\" class=\"\"\u003e\n\u003cdiv data-mesh-id=\"Containerrd40jinlineContent-gridContainer\" data-testid=\"mesh-container-content\"\u003e\n\u003csection id=\"comp-mp5cy8d3\" class=\"Le88gL comp-mp5cy8d3 wixui-section\" data-block-level-container=\"ClassicSection\" tabindex=\"-1\"\u003e\n\u003cdiv data-mesh-id=\"comp-mp5cy8d3inlineContent\" data-testid=\"inline-content\" class=\"\"\u003e\n\u003cdiv data-mesh-id=\"comp-mp5cy8d3inlineContent-gridContainer\" data-testid=\"mesh-container-content\"\u003e\n\u003cdiv id=\"comp-mp5czyky\" class=\"N8MGzv _v6ohL ZS_qLz PO9MfV comp-mp5czyky wixui-rich-text\" data-testid=\"richTextElement\"\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eI’m a long-time fan of Galia’s potent, surprising, fearless and funny work. She’s manipulating and blending forms to create an entirely singular voice and I love to hear it. \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e- Max Porter (\u003cem\u003eGrief is the Thing With Feathers, Lanny\u003c\/em\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eA fascinating and formally inventive text which seems to constantly disintegrate and remake itself before the readers’ eyes; using as its materials the everyday surreal of real life. \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e- Andrew McMillan (\u003cem\u003ePity, Physical, Playtime\u003c\/em\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e\u003cem\u003eSomebody Should Have Pressed Record \u003c\/em\u003eis a brilliant, caustically funny meditation on lost love and impermanence via the most unhelpful simulacrum of a lover in the form of Joe. But it also reminds us that so much of love is an act of imagination. In fact I don’t think I’ve ever read a collection simultaneously quite so heart-breaking and quite so enjoyable. It’s an urgent kind of invention – a search for the lost key, the right analogy that might make the pain go away; a shockingly familiar refusal to accept that the sadness is what it is; but the intensity of imagination sufficient to create a thousand reasons why it just might possibly be something else entirely. \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e- Luke Kennard (\u003cem\u003eBlack Bag, The Book of Jonah\u003c\/em\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eInventive, tender, dazzlingly original, this collection examines what it means to ‘archive loneliness’, to speak when it seems impossible and to be answered. Once you’re in the world of this book, you’ll want to stay. - \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eHelen Mort (\u003cem\u003eDivision Street, Black Car Burning\u003c\/em\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eGalia Admoni creates beautiful, tender poems. Hers is a voice for the fragile, a completely new take on unrequited love, observations of privacy and invention, blending the real world and fantasy, delivering a quiet stoicism that makes this collection a page-turner as you realise you are spending time with someone you are rooting for, wanting to know more about the voice you are seeing on the page. This collection is vital for the world we live in today and delivers a quiet lyrical hope. \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e- John Osborne (\u003cem\u003eMost People Aren't That Happy Anyway\u003c\/em\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eIn Galia Admoni latest collection, she experiments with form as she has in her previous books, but here she experiments with where we, the readers, are taken, just as she experiments with the sense that she knows more about her readers than she lets on. Here, she creates the perfect balance between claustrophobia, a strange sense of foreboding, and the beauty of love in isolation. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eAdmoni’s writing reflects an ability to slip between form, image, page, obsession, and yet, always surprise the reader in where she takes us. I was fascinated with the diagrams in the book as poems in themselves, and the self-questioning of is this how I am? \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eThrough Admoni’s sense of humour, her use of contemporary surrealism, her observation of compulsion as a study results in an addictive read, leaving the reader to consider: Is the act of reading the book, an example of Auto-Destructive art which frames the book’s narrative?\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eGalia Admoni’s latest collection, \u003cem\u003eSomebody Should Have Pressed Record\u003c\/em\u003e, left me feeling as if I was in a surreal version of Through the Keyhole. This unrest she creates in the book though, is one of joy, and through its multi-form, the collection moves between loneliness, obsession, rooms in a flat, and how this thing called love manifests itself into our own lives. \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e- Wendy Allen (\u003cem\u003ePortrait in Mustard, Plastic Tubed Little Bird\u003c\/em\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eNobody pressed record - but if they did what would they have captured? Imaginary friend, figment, daemon - or nothing but stale bedsit air?\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eWith pinpoint precision, Galia Admoni slits a hole through feminine city life and slips in an imaginary Joseph Gilgun. Her conjured companion twists to several forms across the collection - lover, father, conscience, ghost and ruin. Together, Galia and her daydreamed sidekick give shape to absence and stare deep into the illusions we show ourselves in order to survive.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font_8 wixui-rich-text__text\"\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003eNobody pressed record, but this is a collection I'll rewind and press play on again and again. \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"color_36 wixui-rich-text__text\"\u003e\u003cspan class=\"wixui-rich-text__text\"\u003e- Laurie Eaves (\u003cem\u003eBiceps, Metal Gear Sonnets)\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/main\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":59874248982862,"sku":null,"price":13.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/z5vuplsp.png?v=1781275515"},{"product_id":"meditations","title":"Meditations","description":"\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eby Keston Sutherland\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eThe Last Books\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003ePaperback, 2024\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e192 pages\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003eA manual of meditations on grief blocked by trauma, pliers, goats, remedies, meaning, conduits, suicide, eggs, times, tutting, God, lifts, treasury tags, wrecking yards, Douglas Barrowman, involuntary spasms, front desks, manganese deficiency, weevil shit, Mr Sheen, coal potential, the bison, \u003ci\u003eThe Final Cut\u003c\/i\u003e, tone of voice, trillions of cicadas, Elisabeth Koolaart-Hoofman, bogus antler cannibalism, the \u003ci\u003ePreces Gertrudianae\u003c\/i\u003e, parodies of communication, “Cary Grant’s Wedding,” the corruption of youth, a tripod or cable, Culverwell on the \u003ci\u003eVacuola\u003c\/i\u003e, geese, Hemans’s line on Mary Tighe, annihilation, the proletariat, plastic bags, La Compiuta Donzella di Firenze, poetry, rooms, beheadings, S106 obligations, and planks. Containing single, double, triple, and sextuple sestinas, in the old mode of \u003ci\u003eretrogradatio cruciata\u003c\/i\u003e, and other canzoni, crushed to prose.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"margin-bottom: 0cm; margin-top: 0cm; mso-margin-bottom-alt: 8.0pt; mso-margin-top-alt: 0cm; mso-add-space: auto; line-height: normal;\"\u003e \u003c\/p\u003e","brand":"My Store","offers":[{"title":"Default Title","offer_id":59934537941326,"sku":null,"price":16.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/files\/ksmeditations.jpg?v=1781965061"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0837\/0680\/6606\/collections\/WhatsApp_Image_2024-08-21_at_15.58.43_3.jpg?v=1725613987","url":"https:\/\/eastbristolbooks.co.uk\/collections\/poetry.oembed?page=3","provider":"My Store","version":"1.0","type":"link"}