Wendy's Subway – förlag

Nowhere Near follows the author’s psychogeographic journey from Los Angeles to Pangasinan to Mexico City after his departure from the United States, where he lived undocumented for twenty-six years. Returning to the Philippines with his grandmother to search for lost land and to confront a “family curse,” Revereza surfaces legacies of Spanish colonialism and US imperialism as they bear out in its continued present. Through film stills, photographs, family archives, and a rapt, first-person narrative, Nowhere Near excavates the amnesias and silences that shape personal and historical memory in the exilic, diasporic impasse.Miko Revereza's Nowhere Near is the 2021 Open Reading Period Book Prize winner, and was selected by guest judge John Keene.Miko Revereza (b. 1988, Manila, Philippines) is an award-winning experimental filmmaker raised in California and currently residing in Oaxaca City. His upbringing as an undocumented immigrant and current exile from the United States informs his relationship to moving images. He has made a series of personal documentaries informed by his experiences with migration and exile: DROGA! (2014), Disintegration 93 – 96 (2017), No Data Plan (2018), Distancing (2019), El Lado Quieto (2021), and Nowhere Near (2023). These works have been screened at festivals and institutions such as Locarno, TIFF, NYFF, and MoMA. No Data Plan is recognized with such honors as the Sheffield Doc Fest Art Award, and was listed in BFI’s Sight & Sound Magazine’s 50 Best Films of 2019, Hyperallergic’s Top 12 Documentary and Experimental Films of 2019, and CNN Philippines’ Best Filipino Films of 2019. Nowhere Near (recipient of Hubert Bals Fund) was among Film Comment’s Best Undistributed Films of 2023 and CNN Philippines’ Best Filipino Films of 2023. Revereza was included in Filmmaker Magazine’s New Faces of Independent Cinema, is a Flaherty Seminar featured filmmaker, and is a recipient of the 2021 Vilcek Prize in Filmmaker. He holds an MFA from Bard College, Milton Avery Graduate School of the Arts. His films are distributed by LUX, London. PraiseIn his powerful and entrancing voice, fueled by irony and critique, Miko Revereza explores neoliberal capitalism, the challenges facing undocumented families, the non-existent “American dream,” and internal and external exile, showing how borders of all kinds (geographical, racial, psychic), though regularly traversed, are policed and criminalized. Nowhere Near is a cri de coeur about twenty-first-century American society.—John KeeneMiko Revereza’s captivating book is a companion to his diaristic 2023 feature of the same title, and it is a pleasure to encounter on the page the resonant literary voice he developed while making that film. Befitting its rich entwining of personal and political histories, Nowhere Near contains a wondrous range of modes and moods: raw and revealing one moment, sharply and humorously observant the next, by turns poetic and plainspoken. —Dennis LimNowhere Near is a document of lives lived undocumented. Here, form matters: text branches out from image, while dialogue counterpoints an easy, self-reflexive poetic. With the acuity necessitated by a status requiring constant vigilance, negotiating the privatized avenues of America’s dream, Revereza’s words carry a weight that belies their simplicity. Here and now, our attention matters, as America’s icy grip chills us all.—Alia Syed

Nico Vela Page’s Americón is a collection of poems in Spanglish that weaves a space for the queer, trans body to know the land, and itself, as extensions of each other. The land is the desert of Northern New Mexico, the forgotten Pan-American Highway, the space between our thighs, the quaking cordillera of Chile, the moans of elk, and the ripe fruit waiting to be picked. Through archive, attention, and erotic ecopoetics, Page’s debut collection of poems extends far across the page, the gender binary, language, and the Americas to find out who we are by asking where we are.Nico Vela Page's Americón is the 2020 Open Reading Period Book Prize winner, and was selected by guest judge Renee Gladman.

Passage Series #5About the bookKamelya Omayma Youssef’s A book with a hole in it uses the poetry of the fragment and the language of everyday survival to gesture towards the fallibility of language at the juncture of the multiple, intersecting wars on women, on "terror," on the non-White body, and on people and language in diaspora. Drawn from a set of journals written over a four-month period, A book with a hole in it throws the formal, official work of poetry into relief, asking what knowledge exists beyond knowledge, which silences are too deep to be surfaced on the page, and how to pierce through trauma and violence to approach a politics of redemption. Kamelya Omayma Youssef's A book with a hole in it is the 2020 Carolyn Bush Award recipient. About the authorKamelya Omayma Youssef is a writer from Dearborn, Michigan, with roots in Jibbayn and Shmistar, Lebanon. With an MA in English from Wayne State University and an MFA in Poetry from New York University, she currently teaches poetry at the City College of New York, edits poetry manuscripts, and co-facilitates Habibi Futurism, a generative workshop for collective futurist imaginings.

Across the ports, institutions, landscape, and city streets of the Netherlands and Barcelona, this new volume from Claudia Pagès Rabal collects the artist’s research and practice around what she has called “gerund violence.” Navigating scenes of alienation, solitude, stilted encounters, political organizing, outdoor raves, depositions, and unexpected camaraderies, Pagès writes a protagonist arrested in the circuitous grammars of a suspended verbal tense, in the fugue that defines life caught in the continuous present of choreography and surveillance.With librettos, autofiction, videos, and drawings by Claudia Pagès Rabal, and a foreword by Zoey Kira Lubitz.Co-published with the Center for Experimental Lectures

Rodrigo Quijano’s An Inherent Tear assembles a suite of poems first published in Lima in 1998 as Una procesión entera va por dentro and his 2014 essay “A Terrace in Valparaiso,” translated into English for the first time by Judah Rubin. Written during the Fujimori years of the 1990s— a period characterized by the end of the conflict between the Maoist Sendero Luminoso insurgency, the Peruvian army, and the Marxist- Leninist Túpac Amaru Revolutionary Movement—Quijano’s bracingly mournful and incisively wry poems insist that we not turn away from the unburied dead. Shifting between neo-baroque hermeticism and a poetics of the conversational, his work destabilizes lyric subjectivity, testing the limits of the structure of metaphor to relay the impasses of the present. Reflecting almost twenty years later from the “city of wildfires,” Quijano’s essay charts the continued landscape of state violence that carries with it the “payroll of bones” Cesar Vallejo evoked nearly a century earlier. In this new, searing collection, Quijano searches amid the smoke and the ashes for “A place to spend the night, / or a language to speak in, / walking through the desert, or drilling into our / insubstantial dreams.”Rodrigo Quijano is a poet and art researcher. He has worked on contemporary art exhibitions in Lima, São Paulo, Mexico, Buenos Aires, Santiago, Bogotá, and the 57th Venice Biennale.Judah Rubin is the author, most recently, of Antiquarian Historiography (Oxeye Press, 2020). Recent translations can be found in the anthology The Beauty Salons/Salones de la Belleza (Aeromoto/Gato Negro/UNAM, 2021), the journals Firmament and Jacket2, and elsewhere. He is the editor of A Perfect Vacuum and lives in Queens, New York.

Abu Jildeh and Al-Armeet looks at anti-colonial insurgency in Palestine through the story of the Abu Jildeh bandit gang, a group of farmers from the greater Nablus region who rose up against the British colonization of Palestine. From roughly 1931 to 1934, the band resisted both the British occupation and Palestinian feudal landlords, before they were eventually caught and executed by the British army. Their rebellion, amongst others, paved the way for the 1936 Revolt, a mass uprising against the British colonization of Palestine and the planned Zionist colonization outlined by the Balfour Declaration of 1917. Although the 1936 Revolt was ultimately crushed, it presented a formidable challenge to the British Empire. Its echoes still reverberate today. A historical narrative unfolding through text, drawings, and archival documents, this book, first published in 2017, is now reprinted in a new edition augmented by an English-language translation.

Passage Series #6In her debut book, Amelia Zhou poses the question, “How do I perform or not perform?” Weaving together poems, fiction, and lyric essay, Repose follows an unnamed woman grappling with the limits of the self on the everyday stage of labor and routine, charting her emergent modes of resistance. She is already steps ahead, deftly shifting between worker and dancer, roving through the haunted space in which a performance has just ended, the ruins of a house, or a skyscraper aflame. Seeking the edges of form—where it exceeds itself, where it breaks down—Repose offers a narrative of girlhood invigorated by the mutual possibilities of dreaming and defiance. Amelia Zhou's Repose is the 2022 Open Reading Period Book Prize winner, and was selected by guest judge Asiya Wadud.Amelia Zhou works with writing and movement, with an interest in exploring their various intersections as they arise in forms such as poetry, prose, or performance. In 2021 she was awarded Gold Prize at the Creative Future Writers’ Awards (UK) and was a recipient of the Ultimo Prize (Australia), both for prose. Her work has been published most recently in Overland, LUMIN Journal, and Ambit; exhibited at Orleans House Gallery; with further writing in numerous UK and Australian publications. She holds a MA in Creative Practice from Trinity Laban Conservatoire of Music & Dance (2020) and is an incoming PhD student in English at the University of Cambridge. Born and raised in Sydney, Australia, she now lives in London.

Alisha Mascarenhas’s A Catalogue of Risk is a volte-face of the neoliberal market economy’sconstruction of isolated, individual safety. In her debut book of poems, Mascarenhas lingersin the question of risk as it arises in daily life and intimacy. Through a close study and partialtranslation of philosopher-psychoanalyst Anne Dufourmantelle’s Éloge du risque (2011),her poems posit risk as a fissure, through which we might imagine yet-unknown futures.Alisha Mascarenhas’s A Catalogue of Risk is the recipient of the 2022 Carolyn Bush Award.Alisha Mascarenhas (b. 1989) is a poet and translator and the author, most recently, of thechaplet Contagion Fields (Belladonna* 2021). She has contributed writing to Pamenar Press,The Poetry Project Newsletter, The Recluse, Peripheral Review, and The Felt, among others.Alisha was a 2023 resident at La Baldi Artist’s Residency in Montegiovi, Italy. She holds an MFAin Writing from Pratt Institute in Brooklyn, where she now lives.

Kaur Alia Ahmed’s Cursive Paradise asks how a refusal of cogency can lyrically expand perception. They write, “To weigh heavily on something / is to decide its shape,” and throw language into a state of excess. These poems shift and eddy, loop, and undulate, seeking out spaces of desire and onomatopoeic attraction. All the while, Ahmed offers a view of subjectivity and gender made resonant and malleable, insisting on language that is lush with what cannot be contained by the voice or the page.Cursive Paradise is the recipient of the 2021 Carolyn Bush Award.Kaur Alia Ahmed is an artist and writer living in Brooklyn. They make glass, video, poems, plays, and tattoos, and are a recent graduate of the Milton Avery Graduate School of the Arts at Bard College. Their work has been presented at Entrance Gallery, LTK Enterprises, Alyssa Davis Gallery, Interstate Projects, and Rhizome, and published in Baest Journal, the Poetry Project Newsletter, and BOMB Magazine.

Document Series #11 Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon—and Ovid’s original Latin. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.With a preface by the artist, libretti, and an essay by Anahid Nersessian. The book is released in tandem with an album, produced by Recital. Nour Pamela Mobarak (Lebanese American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Piraeus; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalogue, Sphere Studies and Subterranean Bounce was published by Recital (2021). She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.Anahid Nersessian is a writer living in Los Angeles. She is a regular contributor to The New York Review of Books, and her essays and reviews have also appeared in The London Review of Books, New Left Review, Mousse Magazine, The Times Literary Supplement, and elsewhere. Her most recent book is Keats's Odes: A Lover's Discourse (Chicago, 2021; Verso, 2022).

Fifty years after the Fall of Saigon and twenty years after her family’s emigration to America, Minh Nguyenreturns to her native Vietnam to find out what’s left of the old revolutionary project. In Memorial Park, acollection of essays pairing travelogue and criticism, Nguyen encounters relics of proletarian romance andvestiges of totalitarian control amid an evermore corporatized society. Along the way, she considers howcontemporary artspeak confuses state censors, the rise of luxury “Smart Cities” as they supplant socialisthousing complexes, and the enduring appeal of propaganda signs that once promised utopia. Herinvestigations reveal a nation at odds with its past, caught between preserving its socialist legacy andembracing capitalist transformation.Driven by a diasporic curiosity that seeks discovery over dwelling on loss, Memorial Park refuses nostalgicidealism or reflexive condemnation. Instead, Nguyen takes seriously the legacy of Vietnamese liberation bynaming what it has become—and what it decidedly is not. The result is a nuanced portrait of contemporaryVietnam and a meditation on how we inherit, understand, and ultimately reckon with radical histories thatshaped our world.

A disaffected young woman seeking self-estrangement and withdrawal from the world decides to quit her day job as a bookseller to live out, or live in, an experiment: to become a full-time narrator. She moves through sentences, afternoons, a rented apartment, an artist’s studio, a party, the post office with the flowering focus of a realist novel, transposing physical and social life to the space of fiction. As she chronicles the process of becoming a subject in writing, the narrator confronts her fantasy of uninterrupted interiority—and its limits.What is “fiction” and how does one “enter” into it? Composed in the tense of Literature, Lara Mimosa Montes’s The Time of the Novel is a book about detours, psychic swerves, and surprising encounters with the Real as it converges with the written.Lara Mimosa Montes is a writer, editor, and teaching artist whose practice and experiences span the fields of alternative publishing and experimental writing. She is the author of THRESHOLES (2020) and The Somnambulist (2016). Her writing has appeared in BOMB, Fence, The Brooklyn Rail, The Institute for Studies on Latin American Art, and elsewhere. She is the recipient of artist residencies and fellowships from MacDowell, Marble House Project, Jentel, and Headlands Center for the Arts. She is a faculty member of the Creative Writing MFA program at Pacific Northwest College of Art. She also teaches in XE: Experimental Humanities and Social Engagement Master’s program at NYU. She was born in the Bronx.

Featuring writing and artistic practices that trace the racialized and gendered relationship between bodies and land, A Grammar Built with Rocks explores artists’ engagement with sites of physical dispossession and socio-ecological crisis, highlighting how creative research methodologies can serve as radically new place-making practices. The publication brings together a range of feminist-decolonial texts and visual contributions that explore how movement, transience, and improvisation offer alternative ways of being-together while being-in-place. Basel Abbas and Ruanne Abou-Rahme with Fawz Kabra, Jheanelle Brown and Julien Creuzet, Carolina Caycedo, Ryan C. Clarke and Cauleen Smith, DAAR—Decolonizing Architecture Art Research with Nicole Perugini, Demian DinéYazhi’, rafa esparza, Mashinka Firunts Hakopian, Tia-Simone Gardner, Raquel Gutiérrez, Suzanne Kite with Mahpíy̌a Nážinn, Candice Lin, Sandra de la Loza, Jumana Manna, K-Sue Park, Christine Rebet, Susan Silton, and Asiya Wadud.The book also includes a reader, with grounding texts, sources of inspiration, and research references, by Jason Allen-Paisant, Dionne Brand, Suzanne Césaire, Lisa Lowe, Camila Marambio and Cecilia Vicuña, Robyn Maynard and Leanne Betasamosake Simpson, M. NourbeSe Philip, and K. Wayne Yang.

Working at the nexus of performance, art writing, and fiction, Tyler Coburn creates monologues that explore how the “I” is marked in speech. His myriad topics—alternate history, legal personhood, digital labor, and resonant frequency, to name a few—defy straightforward modes of presentation, often insisting on site-specificity and social intimacy at the expense of conventional documentation. Some Monologues collects, for the first time, the scripts of Coburn’s work from the past fifteen years, many of which have not previously been published. Accompanying them are texts by eleven artists, writers, curators, and scholars who experienced these performances firsthand, collaborated in their making, conversed with the artist about them, or share an interest in the subjects they engage. Written in theoretical, poetic, and autobiographical registers, these contributions offer new perspectives on the monologue as an expansive and relational form.

Weaving together the matter of geology, migration, and computation, kathy wu’s debut book She Will Last as Long as Stones mines data from the United States Geological Survey, pairing it with (mis)translations of conversations with the author’s mother, narratives of racialized and gendered labor, and elegies on end-of-life care. Through text, photo-collage, and diagrammatic circuitry, wu mobilizes language toward the edges of things, where glitch and failure meet grief, outpour. kathy wu's She Will Last as Long as Stones is the 2024 Wendy's Subway Open Reading Period Book Prize winner, and was selected by guest judge Bhanu Kapil.

Marking the Occasion represents the final movement in a year-long engagement with the question, "Can a performance be a rough draft of a written work?" In this case, the rough draft took place at Mount Tremper Arts during a 2019 Watershed Residency. Taking the practices of choreography and co-writing as methods of investigation, curator-editors Jaime Shearn Coan and Tara Aisha Willis introduce new trajectories for live work and text by bringing together dance and performance artists from across the US who occupy multiple roles within art economies and in whose work language and writing are prevalent. Exploring a multiplicity of lived, embodied experiences within a single event, Marking the Occasion gathers together archival materials from the residency alongside new contributions from participants David Thomson, Julie Tolentino, Mariana Valencia, Takahiro Yamamoto, and Mlondi Zondi. The publication also marks the events of 2020, and traces their reverberations through each artist's practice as time, movement, action, and collaboration take on new meanings.

Glaring: a sustained look of anger, an obvious fact, a situation of such brightness and intensity that vision is obscured. In his debut book of poems, Benjamin Krusling is concerned with reading domination and violence and entering their psychotic motion, the better to do otherwise. Through the thicket of anti-blackness, militarism, surveillance, impoverishment, and interpersonal abuse and violence, Glaring investigates the things that haunt daily life and make love difficult, possible, necessary. Benjamin Krusling's Glaring is the winner of our 2019 Open Reading Period, and was selected by guest judge Lucy Ives. It is the first book in the Passage Series. PraiseGlaring is a beautiful and powerful, brilliant collection, combining energies of various modernisms with elegant maneuverings through the bleak media of contemporary America. Concerned with institutions—race, health, school, sports, police, family, money, history—as well as the shifting fortunes of affection and the self, these poems utterly transform two other well-worn institutions: the lyric and the page. Every line in this indelible book was my favorite. —Lucy Ives (2019 Open Reading Period Guest Judge)It is alarming to find what you are looking for, which is what I have found in the work of Ben Krusling. His writing is sensitive, skittish, seems to have no proper skin; its unmediated effects are both intoxicating and mystifying, insofar as he appears to have no truck with literary fashions or forms. While the surface of the work is magical; the interior is confrontational and wise. I find myself with a thinker who arrives "where het love is a freaky war machine. " I hate the moment things begin to feel only intellectual, he writes. Does he love, then, being with the "shock" and "energy" of perceiving emotion as an aggregate and multidimensional thing, now partly digital? I don't know. The power of Ben's work is so undeniable, it's confusing to think about its singularity, which is a hint that it is from the future. —Simone White Glaring hurtles its reader deep into formal consideration’s command center, framing every punctum with queries of relation and autonomy. This text is a world where a title may hold as much as its referent, where the next work might begin inside its predecessor, where theater is stripped down to its circuitry and the charge within the performance of all language is laid bare. Benjamin Krusling’s nuanced graphical grammar is ecstatic in its quiet powers, and its scaffold of structural freedom finds tender affinity with the work’s overarching action—experimental reportage on explorations of an expansive interior landscape cracked open with softness. Throughout—heralding interiority and form—are a flickering bouquet parade of the unpaired insisting on their wholeness as is, insisting on their celebration as self. The work is ripe with fracturing’s urgency to show the ways of new wholeness, and blackness shines everywhere like slivers of light. —Adjua Gargi Nzinga GreavesAbout the authorBenjamin Krusling (b. 1990, Cincinnati) is the author of a chapbook, GRAPES (Projective Industries, 2018) and a text-image project, I have too much to hide (forthcoming from Triple Canopy, 2020). Prose and poems have appeared in Hyperallergic, The New Inquiry, Black Warrior Review, Denver Quarterly, Territory, The Recluse, Washington Square Review, and Tagvverk—and work has been awarded the Sonora Review Poetry Prize in addition to Pushcart Prize nominations. He has been awarded the Amiri Baraka scholarship from Naropa University and supported by residencies at the Vermont Studio Center and the Blue Mountain Center. His work has been anthologized in the Bodies Built for Game anthology of contemporary sports writing and presented at The Poetry Project, The Kitchen, the Segue Foundation, the University of Pennsylvania’s Kelly Writers House and other venues. Benjamin received an MFA from the University of Iowa Writers’ Workshop where he was awarded an Iowa Arts Fellowship and a postgraduate Provost’s Visiting Writer fellowship. He lives in Brooklyn.

To want to reveal; to want to reveal enough; to desire; to desire in the right way, the right amount: in her debut book, Rachel James narrates the desiring subject’s nuanced and entangled intimacies with histories of power. How, in other words, under patriarchy, against misogyny, within capitalist strictures, is knowledge shaped, contained, and transferred? Tracing traditions of theater, pedagogy, and faith, An Eros Encyclopedia offers up desire and the attunement to its many objects as the atmosphere of a life—a method to navigate, perceive, and relate against the illusion of separation. Rachel James's An Eros Encyclopedia is the winner of the 2019 Carolyn Bush Award. Rachel James (b. Toronto, Canada) is a poet and artist with a background in experimental ethnography. She has presented her work in the United States, Canada, and Europe, including at Miguel Abreu Gallery and Essex Flowers in New York City, Kelly Writers House in Philadelphia, The New Gallery in Calgary, and Totaldobže in Riga. Her poems have been published by The Recluse and Form IV. As an audio documentarian she has worked with BBC Radio, The Magnum Foundation, WNYC, The Organist, and others. She holds an MFA from Bard College, an MA from the University of Toronto, and has taught seminars on performance scores and essay films. She lives in New York City. PraiseOne of the most extraordinary books; I was instantly addicted, “restless nemesis / how can I / now that you / revolved / around the sun. ” Encyclopedic cash of desire, these pages will have you considering where to lay your spirit and from whose hands to wrest back your power. Rachel James is a writer who can change our lives. —CAConradEffervescent, tender, brilliant, and tremendously moving, Rachel James’s An Eros Encyclopedia is a meditation on the fecundity of what is open—wounds, holes, doors, beds, mouths, asses—an extraordinarily heterodox and delicately wicked paean to absences that are vital. James lays bare the vicissitudes of a life of creature encounters, those collisions and the shocks of pain therein; she explores the bewilderments of connection along with what aches—what is abraded, is broken, and the unexpected dispensations of that rawness. An Eros Encyclopedia is incandescent, a fireball compressed into a series of meticulous whispered confidences. Awash with bravado and sensuality, this book is a performance of the power of poetics. In taking up narrative whilst abandoning (the burden of) representation James has made a new thing: Something alive, singular and generous. Read this book right away. —Harry DodgeThere is something extraterrestrial in Rachel James’s dauntless, frugal eroticism. James commands herself and then she commands you. Her alphabetic chorus of empirical, imperative bluntness from the quiet labyrinth of existence takes you fathomless into her sea. —Vi Khi NaoPsychoanalysis said Eros was a mischief maker, an ancient child playing hide and seek, where the pleasure of language for language’s sake is the most pure stakes of the game. Come read the luminous incantation that is Rachel James’s An Eros Encyclopedia and remember: "You are an acceptable chaos discipline, God of provocation and humor, You are an explosively elegant being. ”—Jamieson Webster

Tender Noted is a meditation on the intersection of desire, mourning, and listening to one’s skin while coming to understand the practice of love. This interdisciplinary work brings together images from Miller’s filmic and photographic practice, informed by and given voice to by Miller’s writing. The book’s organizing principle is the echo: between text and image and between bodies and the stages, rooms, and affects they inhabit. Taking up skin as a site of history and intimacy with the self and across generations, Miller holds space both for the body’s vulnerabilities and its maladies. Moving between poems and lists, diaristic writing, and plays, which feature characters such as Mrs. Lovely, Miller asks what types of speech, postures, and practices define the self within the entanglement of relation. Tender Noted is a study on love in its everyday pain and pleasure. About the authorShala Miller, also known by the performance moniker “Freddie June” when she sings, was born and raised in Cleveland, Ohio. At around the age of ten or eleven, Miller discovered quietude, the kind you’re sort of pushed into, and then was fooled into thinking that this is where they should stay put. Since then, Miller has been trying to find their way out, and find their way into an understanding of herself and her history, using photography, video, writing, acting, and singing as aids in this process. Miller holds a Bachelor of Fine Arts degree from the School of the Art Institute of Chicago, where they studied photography, film, video, and writing, and has studied under filmmaker Lucrecia Martel in Barcelona as part of La Selva’s film workshop “Sounds of Summer. ” They received a fellowship to attend the Skowhegan School of Painting & Sculpture and participated in the New York Film Festival’s Artist Academy. Praise"The voices sitting in this skin are creating heat," writes Shala Miller in her far-reaching, full-bleed mourning song (and plays, and poems, and photographs), Tender Noted. She shies not from the flesh, scratching at the surface to discover what lies under archive and invention, needfully undivided. Fully embodied. "Time has not healed this wound so far," she says, sitting in the thick of heartbreak, curiously tending to its edges. Orbiting Tender Noted, I see the tonal influences of Charles Burnett’s The Killer of Sheep, and the voice and pen of Wanda Coleman, offering the blue note in text, image, quiet shrills and wails. "Writing future love poems to sing at my grave," Miller meets the many shapes of grief, wielding reverence and damning honesty in equal rite. This excavation requires a choir, a bouquet of crystalline, bubbling mouths and voices cast familiar, from family, neighbors, lovers, present and shifting aliases—when called on, we must step into the light and play our part. —S*an D. Henry-Smith Shala Miller’s chorus of plural selves dances across the pages of this slow, gorgeous collage. With a hand rendered unconscious by habit and also too familiarly self-conscious to bear, they scratch to soothe. The self-haunting throughout is rendered exactingly in one particular set of photographs: the artist’s lips and eyes, up close, seemingly projected against an invisible screen, against a darkened landscape, beneath an eclipsed light. Writing inside grooves, tucked next to scars, Miller offers something to hold onto. —Yasmina PriceWhen I think of Shala, I think of her voice. I see her voice in the montage of these images and read cinema in the words. Looking through this book is like hearing Shala sing. —Nicole Miller

JJJJJerome Ellis’s The Clearing asks how stuttering, blackness, and music can be practices of refusal against hegemonic governance of time, speech, and encounter. Taking his glottal block stutter as a point of departure, Ellis figures the aporia and the block as clearing to consider how dysfluency, opacity, and refusal can open a new space for relation. Stemming from Ellis's essay "The clearing: Music, dysfluency, Blackness, and time,” published in 2020 in the Journal of Interdisciplinary Voice Studies (Volume 5, Issue 2) the present volume transcribes and translates his investigation across genres and media, turning to the page to ask: How can a book bear the trace of music, and the racialized, disabled body? Can a book be not just a manuscript, but a glottoscript? Ellis opens space for thinking liberation theoretically, historically, and lyrically.

Toby Altman’s Discipline Park documents the demolition of Prentice Women's Hospital in Chicago, a landmark of architectural brutalism designed by Bertrand Goldberg in the 1970s. Altman was born in the building, and years later, was employed by Northwestern University when they tore it down. His personal proximity to the site leads to a wider critical evaluation of the cruelty of a neoliberalism that asks us to draw sustenance from the very institutions that poison and erase our bodies, habitats, and histories. But, as it indicts the present and its claustrophobic, ruinous politics, Discipline Park also recovers or reinvents utopian vistas through an extended engagement with Goldberg's architectural practices. Toby Altman's Discipline Park is the 2020 Open Reading Period Editors’ Pick. About the authorToby Altman is the author of Discipline Park (Wendy’s Subway, 2023), and Arcadia, Indiana (Plays Inverse, 2017). He has received fellowships from the Graham Foundation for Advanced Study in the Fine Arts, MacDowell, and the National Endowment for the Arts. He holds a PhD in English Literature from Northwestern University and an MFA in Poetry from the Iowa Writers’ Workshop. His scholarly and creative work can be found in Contemporary Literature, English Literary History, Gulf Coast, jacket2, jubilat, and Lana Turner, among other journals and anthologies. He is currently Visiting Assistant Professor of English and Creative Writing at Beloit College. PraiseBrutalism is often remembered as a top-down type of building that no one ever wanted in the first place, but it was always more complicated than that. Toby Altman's Discipline Park untangles and re-tangles Brutalism's complications by digging into all that has been pushed into and projected on the surface of one particular building in Chicago. The imbrications between institutions and individuals…Sometimes it’s easiest to see things when they’re coming apart. —Alex KitnickToby Altman’s Discipline Park brings autobiography, architectural theory, civic history, and an unsettled critique of whiteness to task as it tests the notion that human life is “a traveling wound, which inflicts itself on the landscape. ” Do we take the shape of our environment, or do we shape it? When and how can this chain of relation end? I am struck by the piercingly distilled lines that pepper these pages like throwaway remarks, where another poet might have been satisfied to relish them. Instead, we are led to a halting closing essay that places its extended and difficult composition in plain sight. Discipline Park traces not so much a short, sharp cut but a distributed wound—a long, rough scrape that hurts in the foreground, sensitizes the border between self and world, and tests the integrity of surface itself. —Anna MoschovakisA poetry packed into tight rectangles and corridors that intersect and enjamb across pages, Discipline Park embraces the pillars and steel of the institutional structures meant not only to house us at our most vulnerable moments but also to serve as facilities to research and study us. It is a fascinating subject when handled so skillfully and with such profound understanding of how we are shaped by the places built to administer care when we are most vulnerable. —DA Powell

In The Book of Na, translation acts at the edge of perception. Tracing across projects in film, video, and performance, Na Mira reflects on the violent fragmentation of bodies while refusing the containment of geographic and corporeal borders. In 1977, a name is cut at an immigration office. This gap turns into an intergenerational score for becoming heat, hexagram, hologram. Using oracular and glitching technologies, Mira witnesses what escapes data: doppelgängers, dreams, endangered tigers, tesseracts, A. Turiyasangitananda Coltrane's stairs, Theresa Hak Kyung Cha in a theater, Korean shamanism, frozen ligaments, wildfires, borderlands, subatomic particles, and pink. Syncing to a clock with neither face nor hands, Mira’s hauntological permutations in time, death, and relation travel outside the symbolic order and draw energy from the void. Na Mira’s autobody rites have been presented at sites including Seoul Museum of Art; Museum of Contemporary Art, Los Angeles; Portland Institute of Contemporary Art; Participant Inc. , New York; and Whitney Museum of American Art, New York. She earned an MFA from the University of California, Los Angeles. She grew up between the US and East Asia and teaches outside.

Questions to Ask Before Your Bat Mitzvah invites 36 writers, artists, scholars, and activists to offer accessible reflections on 36 questions to help young Jews—and anyone else who picks up this book—feel grounded in the Jewish radical tradition, unlearn Zionism, and deepen their solidarity with Palestinians, offering the B’nai Mitzvah as an opportunity for political awakening open to all. Edited by comedic performance artist and activist Morgan Bassichis with artist and educator Jay Saper and writer Rachel Valinsky, with a foreword by seminal scholar-activist Angela Y. Davis, and illustrations by the artist Nicole Eisenman, this essential volume offers an accessible and challenging set of personal and collective responses to critical questions for our time. Questions included range from “What even is a Bat Mitzvah?” and “I’m queer/nonbinary/secular/old/not even Jewish—are Bat Mitzvahs for me?” to “Why are there Israeli and American flags in my synagogue?” and “Why do people plant trees in Israel as a Bat Mitzvah gift?” and “What does the olive tree symbolize to Palestinians?” and “What does the watermelon symbolize to Palestinians?” and “What do Palestinian kids do when they turn thirteen?” and “How do I talk to my family about this stuff?” Questions to Ask Before Your Bat Mitzvah is published with support from the Carpenter Center for Visual Arts at Harvard University, Cambridge, and the ICA at Virginia Commonwealth University, Richmond, and coincides with Bassichis's traveling exhibition More Little Ditties in summer and fall 2023. ContributorsBasel Abbas and Ruanne Abou-Rahme, Imani Altemus-Williams, Sumaya Awad, Shirly Bahar, Kholoud Balata, Morgan Bassichis, Bazeed, Gregg Bordowitz, Lukaza Branfman-Verissimo, Ilise Cohen, Jonah Aline Daniel, Maya Edery, Esther Farmer, Dan Fishback, Aitan Groener, Rabbi Miriam Grossman, Noah Habeeb, Olivia Katbi, Aurora Levins Morales, Brooke Lober, Tariq Luthun, Collier Meyerson, Dori Midnight, Izzy Mustafa, Aidan Orly and Jonathan Brenneman, Una Aya Osato, Khury Petersen-Smith, Rabbi Brant Rosen, Dylan Saba, Mahdi Sabbagh, Jay Saper, Ita Segev, Dean Spade, Elena Stein, Sandra Tamari, Kendra Watkins, and Satya Zamudio. About the editorsMorgan Bassichis is a comedic performer who has been called “a tall child or, well, a big bird” by the Nation and “fiercely hilarious” by the New Yorker. Morgan’s book of to-do lists, The Odd Years, was published by Wendy’s Subway in 2020. Past shows include Questions to Ask Beforehand (Bridget Donahue, 2022), Don’t Rain on My Bat Mitzvah (co-created with Ira Khonen Temple, Creative Time, 2021), Nibbling the Hand that Feeds Me (Whitney Museum, NYC, 2019), Klezmer for Beginners (co-created with Ethan Philbrick, Abrons Arts Center, NYC, 2019), Damned If You Duet (The Kitchen, NYC, 2018), More Protest Songs! (Danspace Project, NYC, 2018), and The Faggots & Their Friends Between Revolutions: The Musical (co-created with TM Davy, DonChristian Jones, Michi Ilona Osato, and Una Aya Osato, New Museum, NYC, 2017). Morgan has released two albums: March is for Marches with Ethan Philbrick (2019) and More Protest Songs! Live From St. Mark’s Church (2018). Jay Saper is an artist, translator, educator, and organizer who lives in Brooklyn, New York. They have taught Antifascist Yiddish for Beginners at Middlebury College and led walking tours on radical Jewish history for the Greenwich Village Society for Historic Preservation. Jay has served as artist-in-residence at the Jewish Museum Frankfurt. Their work has been supported by the Yiddish Book Center and featured on Democracy Now! Jay’s artist books and zines honoring the legacy of Yiddish print and activist culture, under the imprint Pashkevil Press, are held in the collection of the Watson Library at the Metropolitan Museum of Art. Rachel Valinsky is a writer, editor, and translator based in New York. Rachel is co-founder and Artistic Director of Wendy’s Subway and Managing Editor at the Center for Art, Research and Alliances (CARA). Her translations have been published by Semiotext(e) and Éditions Lutanie, where she is a contributing editor. Rachel’s criticism appears in publications including Artforum, Art in America, BOMB, e-flux Criticism, Frieze, and she has written for the Berlinale, Danspace Project, and Sternberg Press, among others. She teaches Art History, Art Writing, and Critical Thinking at New York University and The New School.

A concept just short of a program, accountability has been taken up as a core principle within leftist organizing and activity over the past quarter century. While it invokes a particular vocabulary and set of procedures, it has also come to describe a more expansive, if often vague, approach to addressing harm within movement work. The term’s sudden, widespread adoption as abolitionist concepts began to circulate broadly in recent years cast light on certain shifts in its meaning, renewing the urgency of understanding its relation to militant history and practice. After Accountability is an oral history and critical genealogy of this decisive movement concept that gathers interviews with eight transformative justice practitioners, socialist labor organizers, incarcerated abolitionists, and activists on the left conducted by members of the Pinko collective. An investigation into the theoretical foundations and current practice of accountability, this volume explores the term’s potential and limits, discovering in it traces of the past half-century’s struggles over the absence of community and the form revolutionary activity should take. ContributorsKim Diehl, Michelle Foy, Peter Hardie, Emi Kane and Hyejin Shim, Pilar Maschi, and Stevie Wilson, and Pinko collective members Lou Cornum, Max Fox, M. E. O'Brien, and Addison Vawters.