Archive for Publications
About the book
A version of Encyclops. was handwritten on 142 paper bags with photographs and drawings. This work was exhibited at news of the world gallery, Deptford, London, November-December 2013. In this print version published by if p then q writing (encyclopedic bugs) is presented alphabetically. There is a sense of the style of Gertrude Stein of Tender Buttons & eroticism, perhaps a theme yet also a method used to intuit. Images and ideas are immediately in view then drift out again, just as fast, leaving the reader to return to the poem without knowing whether the experience is being repeated. It’s good good stuff.
About the author
seekers of lice is an artist and writer. Recent works include THEATRE OF OBJECTS 2012 (VerySmallKitchen) and Limber 2013 (The Knives, Forks and Spoons Press).
New press run by Sara Crangle and Sam Ladkin, launching with works by Tom Raworth and Peter Manson. More at the Sancho Panza site.
“The humourous, the fantastical, the classical, the psychogeographical, all are touched upon in this attempt to collectivise the spirit of your erotics: that creative energy empowered, the knowledge and use of which we are now reclaiming in our language, our history, our dancing, our loving, our work, our lives.”
This anthology edited by Sophie Mayer and Sarah Crewe seeks to capture something of the exciting new wave of contemporary writing on the erotic.
Featuring poetry by Nia Davis, Pascal O’Laoghlin, Nat Raha, Sarah Crewe, Becky Cremin, Jo Langton, Andra Simons, Kit Fryatt, Sandeep Parmar, slmendoza, Jay Bernard, Ziba Karbassi, SJ Fowler, Agnes Marton, Sascha Aurora Akhtar, Melissa Lee-Houghton and Sophie Mayer,
Glitter is a Gender is “not so much an anthology as an anthol-orgy of voices, hands, hearts and genitals, all working to recognise and actualise the erotic.”
Out now on Contraband Books.
Jen Coleman, Leslie Kaplan (trans. Julie Carr & Jennifer Pap), Rodrigo Toscano, Jeroen Mettes (trans. Vincent W.J. van Gerven Oei & introduced by Samuel Vriezen), Lesego Rampolokeng, Heather Fuller, Nathan Cordero, Donato Mancini, Trish Salah, Arnold Joseph Kemp, Hsia Yü (trans. Steve Bradbury), Carlos Soto-Román, Tonya Foster, Rachel Zolf, Eric Sneathen on Dodie Bellamy, Julia Bloch on Divya Victor, Robin Tremblay-McGaw on Harryette Mullen, Nicky Tiso on David Wolach, plus a special feature on British poetry, featuring Nat Raha, Sean Bonney, Connie Scozzaro, Francesca Lisette, Emily Critchley, Verity Spott, William Rowe, Jennifer Cooke, Robert Kiely on Samantha Walton, and Colleen Herd & Pocahontas Mildew. October 2014. 230 pages.
NUMBER 5: Reviews of Connie Scozzaro, Dodie Bellamy, Richard Barrett, J.H. Prynne, Laura Elrick, the anthology ‘I’ll Drown My Book: Conceptual Writing by Women,’ the journal ‘No Prizes,’ Amy Todman, J.L. Williams and Nat Raha. Edited by Lindsay/Luna; designed, typeset and produced by Robbie Dawson. September 2014.
Inman’s Written 1976-2013 is published today by Manchester publisher if p then q. The book is available for £20 and good postage rates are available both in the UK, USA and other locations.
The volume offers an incredible introduction and reappraisal of the work of one of the twentieth and twenty first century’s most outstanding poets. It includes the collections: Platin, Ocker, Uneven Development, Think of One, Red Shift, Criss Cross, Vel, at. least., amounts. to., Ad Finitum and Per Se in ‘final’ versions, as well as a number of other previously uncollected poems.
The volume also includes a sumptuous, lengthy essay by Craig Dworkin covering Inman’s career to date.
Without a doubt it is essential reading.
This is what Michael Golston has to say about the collection:
The collected P. Inman! It’s about time—and a lot of other words—many of which have never been seen or heard before. Inman’s half-century project of the complete dérèglement de tous la langue marks one of the endpoints of the great arc of American poetry, where the bow bends all the way to touch the ground. You’ll find a pot of linguistic gold there: Written is writing written at the limits of written writing. Accompanied by Craig Dworkin’s fantastic introductory essay, this book is sure to become a classic in the ongoing history of the avant-garde.