black lodge press, 2024A 24-page A4 2 colour riso zine inspired by the words and music of Arthur Russell.

Edited by Rasheed Araeen and Mahmood Jamal Primary Information, 2022  This publication is a compilation of all three issues of the journal Black Phoenix published as a single volume. Edited and published by Rasheed Araeen and Mahmood Jamal between 1978 and 1979 in the United Kingdom, Black Phoenix remains a key and radical document of transnational solidarity and cultural production in the visual arts, literature, activism, and beyond. More than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed. Black Phoenix proposed a horizon for Blackness that transcended racial binaries, across the Third World and the West. Contributors include art critics, scholars, artists, poets, and writers, including Rasheed Araeen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (United Kingdom), Kenneth Coutts-Smith (United Kingdom), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya). Rasheed Araeen is a Karachi-born, London-based artist, activist, writer, editor, and curator. Aareen founded the critical journals Black Phoenix, Third Text, and Third Text Asia, and took on activist roles with the Black Panthers and Artists for Democracy. His work has been exhibited widely, including, most recently, at the Pulitzer Arts Foundation, Chicago; BALTIC Centre of Contemporary Art, Gateshead; MAMCO, Geneva; Van Abbemuseum, Eindhoven; Tate Britain, London; the 2017 Venice Biennale; and Documenta 14, Athens/Kassel, among others. Mahmood Jamal was born in Lucknow, India, and moved to Britain from Pakistan in 1967. He published several books of poetry, including Sugar Coated Pill (2007), and translated the Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi (2009) and Faiz: Fifty Poems (2013), among other titles. In 1983, he co-formed the all-Asian Retake Film and Video Collective production company, and initiated Epicflow Films in 1989. Jamal worked as an independent producer and writer; produced several documentary series, including Islamic Conversations; was a lead writer on Britain’s first Asian soap, Family Pride (1991–92), and wrote and produced Turning World (1996) for Channel4 television. He died in London in December 2020.

224 pages - 17*22cm Hardcover masala noir, 2022An archive of Noise vinyl and cassette covers by Masala Noir.

224 pages5.4 x 8.2 inchesPaperbackEdition of 3000March 2021 Primary Information, Co-Published with Ugly Duckling PresseManaging Editors: James Hoff and Matvei Yankelevich “Here’s a truth to which the black experiment is especially foregiven: “words are ancillary to content.” The converse is also true, indicating mutual aid and mutual trouble. When words and content get together, there’s enough room in the vast, infinitesimal blur not in between them for poetry to make its dispersive, displacing way. Norman H. Pritchard loves that non-Euclidean neighborhood. He keeps bullet time there, after hours, in a club, which is an open cell, called The Matrix. Welcome to this “huge/entering” of concrete breath—unprecedented, unsurpassed.” - Fred MotenThe Matrix by Norman H. Pritchard (1939–1996) gathers a selection of the Concrete and Black Arts poet’s work from 1960 to 1970. The seventy-one poems collected here might be regarded, as Charles Bernstein has written, as “sound” poems, being tethered not only to the literature of the Black Arts Movement but also to jazz culture and urban life in New York. Drawing as much from the visual arts and concrete poetry as from sound-based experimentation and music, Pritchard utilized the simple tools of spacing and typography to create syncopations, vibrations, and musical rhythms. What emerges is nothing less than a self-contained system of mimetic codes that challenge modernist modes of perception and representation. Formally innovative and anticipating what Michael Riffaterre would come to call the semiotics of “ungrammaticalities,” the book is a syntactical and visual experience in repetition, stutters, and structure.  Born and based in New York City, Pritchard was trained in visual arts and art history at New York University and Columbia University. As a member of the Umbra group (1962–65)—a collective of young Black writers that included Steve Cannon, Thomas C. Dent, David Henderson, Calvin Hernton, and Lorenzo Thomas—he met with fellow members in Manhattan’s Lower East Side to read and discuss writing and politics. They channeled their sense of urgency in developing and promoting Black culture into the literary magazine Umbra. Following the group’s dissolution, Pritchard continued to be involved in New York’s art, music, and film worlds in the late 1960s. The Matrix was published by Doubleday in 1970, marking one of only a handful of books on concrete poetry to be published by a major American publishing house. His second and final book Eecchhooeess was released by New York University Press in 1971.   If Pritchard’s work testifies to the Black poetics of “broken witnessing,” it is also deeply philosophical and spiritual. “I feel that there’s only one reality, and that reality is God,” says Pritchard in an unpublished video from 1981. “Everything else is actual—or what I call ‘transreal.’ In other words, everything is transreal except God. Trans meaning through, across, within, into within.” In a 1969 letter to fellow Umbra member Ishmael Reed, Pritchard writes: “Transreal is a word which visited me in the fall of 1967 while making initial probes into a book which I call Origins: A Contribution to the Monophysiticy of Form. My ‘definition’ is: Transrealism = O.”  While leaving it open to interpretation, “transrealism” was a vector through which Pritchard organized a host of collaborations—in March 1972, for instance, the poet hosted an event in New York called “The End of Intelligent Writing: A Transreal Awakening,” which featured artists such as Vito Acconci, W. Bliem Kern, and Richard Kostelanetz. Describing Pritchard’s work in terms of “ironic materiality,” Reed has remarked: “At the limit, Pritchard’s self-undermining poems ask us whether poetry needs words at all.” Indeed, his is a poetics of both anti-transcendence and revelation. Norman Henry Pritchard was born in New York City in 1939 and studied at New York University and Columbia University. His work has been published in two collections: The Matrix Poems: 1960–1970 (1970) and Eecchhooeess (1971). His poetry was featured in the journals Umbra and The East Village Other, performed on the jazz poetry compilation New Jazz Poets (1967), and anthologized in The New Black Poetry (1969) and In a Time of Revolution: Poems from Our Third World (1969). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary. He died in eastern Pennsylvania on February 8, 1996.

Publisher: B_Books 188 pages 15cm × 23cm Format: Paperback 2014 ISBN: 9783942214162'In this book Tim Stüttgen considers the paradigm of (post-)slavery as an important epistemological break within predominantely white Gender and Queer Studies, as well as within critical Film and Cultural Studies. Departing from what E. Patrick Johnson has proposed as a specifically intersectional »quAre«, instead of an »unmarked white queer perspective«, this book contrasts Deleuze’s cinema theory with Frantz Fanon, queer theories of color, the history of the African diaspora and utopian quAre futurisms to establish notions of a black locality, mobility and temporality in what Stüttgen calls the first emancipatory black cinema: Blaxploitation. Digging deeper in the imagery and temporalities of Blaxploitation film, his analysis deals with the sexualization of racism and mass media imagery of armed black liberation struggles, and shows the development of more and more complex spaces, main characters and representational constellations, including black revolutionary women (with guns) and also queer subtexts.

Pilot Press, 2020, 14 x 20 cm, 44 pages, PB 'Sam Moore addresses what it feels like growing up queer and British in the 1990s when most of your teachers are either dead, and-or American. An important and evocative personal essay on archival absences and erasures, and, in Moore's own words, refusing to die of ignorance even though that's what so many wanted.'    - Isabel Waidner Moving through time and across oceans, writer Sam Moore takes us on a poetic journey of self-discovery through queer history, pop culture and (auto)biography in this deeply personal encounter with queer identity a generation after the AIDS crisis.    Examining the violent political legacy of right-wing governments, the search for liberation through art and the endless quest for self-discovery, All My Teachers Died of AIDS serves as both eulogy and rallying cry, asking us to mourn the dead while lighting a torch to help guide us through grief towards a brighter queer future.

148 x 191mm, 252 pages, Black & white printing, Perfect bound, Softcover, Pilot Press, 2024 Increase quantity for Verity Spott, The North Road Songbook   Add to cart   The North Road Songbook collects 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. Verity Spott is a poet, teacher and care worker from Brighton, England, whose books include Hopelessness (the 87press), Poems of Sappho (in translation) and Prayers Manifestos Bravery (Pilot Press). Verity’s poetry has appeared in The New York Times and has been translated into French, German and Greek.

Publisher Pilot Press Pages   Dimensions 150 x 200 mm Format Softcover Year 2022 Responses to Love's Work by Gillian Rose is the fourth publication in a series of anthologies from Pilot Press seeking contemporary responses to works of art made during the AIDS crisis.In this fourth iteration, responses were sought to the 1995 philosophical memoir Love's Work by Gillian Rose.Contributors:Cookie MuellerIan PattersonDodie BellamyKatherine FrancoJames McDermottLotte CrawfordMoss PepeJames MainNick BlackburnThea PetrouJosiah MoktarRoelof BakkerChristopher MaddenKashif Sharma-PatelMadeleine Pulman-JonesLucy SwanLou CollinsTed SimondsMolly GoughEdward ThomassonRichard PorterAlexandra Symons SutcliffeCecilia PavónKate MorganOlivia LaingAshleigh A. AllenReverend Joyce McDonald

116 x 182mm, 347 pages, Black & white printing, Perfect bound, Softcover, Pilot press, 2024 Timothy Thornton is a writer and musician. His work was in Volume 2 of the new Penguin Modern Poets series, and he has published eleven books of poetry with small presses. He organised two series of reading and performance nights in Brighton: ‘evenly and perversely’ and ‘WHAT YOU NEED’. He has composed and performed scores for productions at Battersea Arts Centre and The Yard Theatre.   ‘Candles and Water risks everything, daring to explore powerful vulnerabilities, yearning, and unabashed hope. Elusiveness and the whisperings of shadows inhabit these pages, always illuminated and burnished by the voice of a poet’.   — Thomas Glave, author of Among The Bloodpeople   ‘Timothy Thornton’s Candles and Water is a rare and transformational book, haunting, beautiful and watchful. Writing that follows its brush like Sei Shōnagon.’   — David Hayden, author of Darker with the Lights On   ‘These radical, scattered shards of life and sensation. . . come to a whole, coalescing like bioluminescence. . . witty, dark, profound, devastating. One long séance with a fellow human soul.’    — Philip Hoare, author of RISINGTIDEFALLINGSTAR  This collection is made of fictions and diaries, dreams and lists, lies and ghost stories. Its fragments and filaments are lonely, joyous, enraged, sickly, and lost; and when they crystallize around a single voice, it is by way of healing from grief and recovery from addiction.

Introduction and translation by Sibyl University of California press, 1971 275pp"Substantially the book that devotees of the director have been waiting for: a full-length critical work about Ozu's life, career and working methods, buttressed with reproductions of pages from his notebooks and shooting scripts, numerous quotes from co-workers and Japanese critics, a great many stills and an unusually detailed filmography."—Sight and SoundYasujiro Ozu, the man whom his kinsmen consider the most Japanese for all film directors, had but one major subject, the Japanese family, and but one major theme, its dissolution. The Japanese family in dissolution figures in every one of his fifty-three films. In his later pictures, the whole world exists in one family, the characters are family members rather than members of a society, and the ends of the earth seem no more distant than the outside of the house.

Ma Bibiliotheque, 2024 108 pages120 mm x 190 mm60 mm French flaps (cover)PaperbackSometimes I pretended not to notice it (the black hole), but I knew it was always there. To tell the truth, I started to like having it around. I stuck quite close to it. Not too close, mind you. But it was useful, above all, to have somewhere to put things. Unwanted things. I am attracted to your attraction, he said. (I put it in the hole.) Night by night it got a little bigger.Holes splices forms of fiction and nonfiction. The narrator, a researcher of limits at an unidentified university, figures her entanglement with an unobtainable love object as the descent into a black hole. Everything she reads seems to shed light on the non-events that comprise their relationship, and study collapses into life as she struggles to separate events and forms, reality and ideation. Holes is a study in thematic fixation, engaging a range of ‘obsessional artists’ (including Yayoi Kusama, from whom the term is borrowed, Lee Bontecou, and Carolee Schneemann) for whom holes—as idea, imagery, philosophy—have proved evocative, inviting, and occasionally obliterative.

2nd printing with updated cover Paperback with French flaps; 210 x 140mm, 112pp; black-and-white images throughout Prototype, 2024Emblem is the debut collection from Lucy Mercer, winner of the inaugural White Review Poet’s Prize. Emblem revitalises this forgotten hybrid form in the present as a frame to contemplate the obscurities of motherhood, faith and the interior. In ghostly conversation with the sixteenth-century emblematist Andrea Alciato – a witness to a lonely time – the poems are carried forward by a non-linear dream logic of metaphor and similitude, speaking pictures who remain silent and a focus on an adjacent imaginal world. As well as reusing images from Alciato’s emblem book, the poems fixate on alternating relations between text and image that blur into relations between mind and body, child and mother, red and green, past and present, public and private, the living and the dead.

published by Tenement Press & Prototype, 2023 Paperback; 140 x 216mm; 444pp; black-and-white images throughout Mario Dondero, Erica Baum, Jess Cotton, Rebecca Tamás, Raúl Guerrero, Stephen Watts, Helen Cammock, Salvador Espriu, Lucy Mercer, Olivier Castel, Lucy Sante, Ryūnosuke Akutagawa, Ryan Choi, John Yau, Nicolette Polek, Chris Petit, Sascha Macht, Amanda DeMarco, Mark Lanegan, Georgia May Jaeckle, Vala Thorodds, Richard Scott, Jonathan Chandler, Joshua Cohen, Sandro Miller, Hannah Regel, Nick Cave, Matthew Shaw, Daisy Lafarge, Jeffrey Vallance, Holly Pester, Matthew Gregory, Emmanuel Iduma, Joan Brossa, Cameron Griffiths, Levina van Winden, Imogen Cassels, Hisham Bustani, maia tabet, Aram Saroyan, Velimir Khlebnikov, Natasha Randall, Edwina Attlee, Jason Shulman, Aidan Moffat, Lesley Harrison, Oliver Bancroft, Lauren de Sá Naylor, Yasmine Seale, Will Eaves, James Hugunin, Glykeria Patramani, Cass McCombs, Will Oldham, Antonio Tabucchi, Elizabeth Harris, Nina Mingya Powles, Isabel Galleymore, Preti Taneja, Stanley Schtinter, Sophie Seita, Ralf Webb, Wayne Koestenbaum, Iain Sinclair, SJ Fowler, David Grubbs, Agustín Fernández Mallo, Pere Joan, Thomas Bunstead, John Divola, Adrian BridgetSeven Rooms brings together highlights from Hotel, a magazine for new approaches to fiction, non-fiction & poetry which, since its inception in 2016, provided a space for experimental reflection on literature’s status as art & cultural mediator. Co-published by Tenement Press and Prototype, this anthology captures, refracts, and reflects a vital moment in independent publishing in the UK, and is built on the shared values of openness, collaboration, and total creative freedom.

written by Justin Patrick moore   Velocity Press, 2024 paperback, 280ppThe Radio Phonics Laboratory explores the intersection of technology and creativity that shaped the sonic landscape of the 20th century. This fascinating story unravels the intricate threads of telecommunications, from the invention of the telephone to the advent of global communication networks. At the heart of the narrative is the evolution of speech synthesis, a groundbreaking innovation that not only revolutionised telecommunications but also birthed a new era in electronic music. Tracing the origins of synthetic speech and its applications in various fields, the book unveils the pivotal role it played in shaping the artistic vision of musicians and sound pioneers.

A5 staplebound, comes with sticker www.listencorp.orgWe explore the production and sustained interest in one of the most incredible racing game franchises of all time: WipEout. Speaking to the lead writer, developer and composer, our lead article delves into the evolution of the game, the story behind its music and the movements that it helped to inspire. 🪡 Unravelling a beautiful thread… 🪡We’re proud to present a farewell interview with the creators of the innovative experimental electronic label Noumenal Loom. Responsible for masterpieces by the likes of Giant Claw, Holly Waxwing and Broken Spear, Isa and Holly guide us on a trip down memory lane and offer words of wisdom for aspiring labels.🪐 Music of the spheres… 🪐Insight into a project that has brought the sounds of the cosmos down to earth for us to enjoy, we find out more about the Messier collection.AUX: christtt A special magazine-exclusive edition of AUX, where Business Casual owner and purveyor of incisive plunderphonic odysseys gives us his picks. This edition also features reviews of Nondi_, Lauren Bousfield, Simple Syrup, MANAPOOL and Null Object!

Silver Press, 2023 Paperback, 256 ppFifteenth anniversary edition, with a new preface by the author and contributions by Saidiya Hartman and Katherine McKittrick. A haunting lifeline between archive and memory, law and poetry. In November 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship’s owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert – the only extant public document related to the massacre of those African slaves – Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.

wolke, 2020 136 pp., paperbackAdorno and the Aesthetics of Postwar Serial Music is the first book-length study of the relation between Theodor W. Adorno’s aesthetics and postwar serial music. Adorno’s extensive writings and lectures about serialism, his first-hand knowledge of the technique, and his personal acquaintance with leading serial composers did much to shape his philosophical work. That work, in turn, influenced postwar composers, and the signs of this influence are clearly visible in the compositional theory and aesthetic ideas of the period. This book presents a detailed examination of these ideas, and places them in their historical, philosophical, and cultural contexts. It will enable a better understanding not only of serial music and aesthetics, but also of Adorno and his aesthetic theory. As such, it will appeal to composers, music historians, philosophers, critics, and anyone interested in the aesthetics of modernism.

edited by Lynn Matheson and Ann Schnabel Mottier  wolke,2021 144pp hardback This unique book, also containing never before published the 1949 Harvard Lectures, is Schnabel's last foray into public discourse and represents his most mature view of music and its function in society at large. It highlights the importance of understanding tradition and highlights the profound impact Artur Schnabel had, both as a performer and teacher upon future.  "Values in art are always fluctuant, and no decrees or measures will ever arrest their motion. Within the boundary of our civilization, only a few, perhaps only one, of the several departments we have referred to under the collective term "Music" are commissioned with the supply of such artistic values. By this I mean that not all music belongs to those values although all of it goes by that one term "Music." It is different in literature, or the pictorial arts, or architecture. A clown's gabbling is not spoken of as literature, a billboard is not called a still life, a portrait, or landscape, and a filling station or hot dog stand not architecture. We have, I repeat, unfortunately, no such differentiation in regard to music. It is all called "Music,"from the cheapest to the most sublime. If someone tells you that he loves music, you do not know whether he refers to trash or to treasures. If he tells you that he loves books or paintings, it is fairly clear that he speaks of a category addressed to some sort of discrimination."