Softcover, 94pp Prototype, August 2026The collection orchestrates a mythic and historical collision between three formidable figures – the South African poet Ingrid Jonker, the mythical witch Medea, and a provocative poetic ‘I’ (evoking the trope of the ‘scorned woman’) – to interrogate the male gaze and the transformative potential of female rage. Vegter’s poems tease language to its limit, with a restless energy that is dynamic, vicious and vulgar, infused with humour and absurdist overtones, brought to life through Astrid Alben's virtuosic translation. Pig Data fearlessly rebuffs the comforts of traditional form, revelling in contradictions, moving between a luminous tenderness and vulgar, incoherent urgency.

Paperback, 240 pp Renard Press, 2022  'You see that Anna led an arduous and troubled life... Her face was worn, her cheeks were thin, her mouth drawn and firm, and her light blue eyes were very bright. Sometimes they were full of lightning and sometimes full of humour, but they were always sharp and clear.' Under the grey, industrial skies of Bridgepoint (modelled on Baltimore), three women - Anna, Melanctha and Lena - live, work and love. Painting a powerful portrait of women trapped in drudgery, Stein's Three Lives is a ground-breaking portrayal of abuse and non-heteronormative sexuality, and is a searing indictment of the struggles of the working class in turn-of-the-century America. An astonishing work that toys with style and conventions, Three Lives stands as a monument in Modernism and experimental literature, and comes from the pen of a writer whose intelligence and understanding bleeds from every page.

Softcover, 240pp Faber, 2025Harryboy Boas is a lowlife gambler. When he’s not at the track, he lives in a Hackney boarding house, reading Zola, eating salt beef, pressing trousers and repressing wartime memories. But when a new family moves into the apartment downstairs, his life starts to unravel and Harryboy soon finds himself sinking into a murky East End underworld where violence, guilt and gangsters are the inevitable result for those who cannot pay their dues. A celebrated cult classic, The Lowlife brilliantly evokes post-war East London – dog tracks, sandwich shops, tenements, sex workers, newly arrived West Indians and Jews leaving for Finchley – all seen through the tragicomic eyes of Harryboy, our picaresque rogue hero suffering from ‘existential burn-out in the shadow of the Holocaust’ (Iain Sinclair) and driven to bet, brag and beg to survive.

Softcover, 212pp (50 images) Heartworm, 2023 (2nd edition)Genesis P-Orridge, the mind and voice behind Psychic TV, Throbbing Gristle and COUM Transmissions, began their artistic journey in the 1960's writing poetry. Heartworm Press is proud to present hundreds of never before seen or published poems by this legendary, influential original. This collection introduces Genesis as a thoughtful innovator and irreverent provocateur with over two decades of poetry, from beat to concrete, and shows the progression of the self, beginning the book under the given name of Neil Megson and eventually growing into the enigmatic Genesis P-Orridge.

Paperback, 8 x 9 inches, 488 ppPrimary Information, 2nd edition, April 2026Women in Concrete Poetry: 1959–1979 is an expansive anthology focused on concrete poetry written by women in the groundbreaking movement’s early history. It features fifty writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre. Women in Concrete Poetry: 1959–1979 takes as its point of departure Materializzazione del linguaggio—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Through this exhibition and others she curated, Bentivoglio traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax. The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive serial works that are overtly feminist and often trouble legibility. Women in Concrete Poetry: 1959–1979 revisits the figures in Bentivoglio’s orbit and includes works by women practicing in other milieus in the United States, Eastern Europe, and South America who were similarly concerned with activating the visual and sonic properties of language and experimenting with poetry’s spatial syntax. Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Susan Howe, Liliane Lijn, Mary Ellen Solt, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia.

Softcover, 170 x 240 mm, 128 pp. We Jazz, August 2026   We Jazz Magazine, Issue 19/ Summer 2026 Miles Davis by Alex Coles, Phil Freeman, Tony Higgins, Ashley Kahn, Tadayuki Naitoh & Anton Spice, Spiritual Jazz by Pierre Crépon & Francis Gooding, Kadi Vija by Wif Stenger, Jonah Parzen-Johnson by Giulio Pecci, Emma Rawicz by Rob Garratt, Courtney Pine by Gareth Allen, Discaholic column by Mats Gustafsson, album reviews, live review & more.

Designed by George Townsend and Grace Connolly Linden. Staplebound & Riso printed by Earthbound Press on Context Natural.An interview with Ross Cole, the author of The Folk, with images by George Townsend and an introduction.

Designed by Musheto Fernández Staplebound, 180 x 285mm, Risoprinted by Sunday's Print Service, Glasgow, Summer 2026Our inaugural issue brings together work from some of the most exciting writers and artists in Scotland and further afield: an interview with Lisette May Monroe on her Glasgow International show Hard Lines; an essay by Hannah Proctor about 2016, a profile of Glasgow’s own France-Lise McGurn, and a quasi-ethnographic account of attending a weekend of GI openings from poet Oli Hazzard in our regular section which asks a scene report of those not in that scene. Bumper editor Christopher Law explores the sometimes uneasy relationship between academia and arts spaces in his editorial. We also feature new writing from Akshi Singh, poems from Carle Gent, ekphrastic responses by Colin Herd to the new Dean Sameshima book. Then, mostly Glasgow International exhibition reviews by Gabriel Levine Breslin and the Bumper editors, a review of Iphgenia Baal’s Black Skulls by Evelyn Wh-ell  and ending with artwork by Sue Tompkins.Edited by Leo Bussi, Caitlin Merrett King and Christopher Law. Contributors: Carle Gent, Oli Hazzard, Colin Herd, Gabriel Levine Breslin, Hannah Proctor, Akshi Singh, Sue Tompkins, Evelyn Wh-ell

Softcover, 88pp Verso, 2026The Literary Workshop takes readers inside Monique Wittig’s creative process, unlocking the practice of writing both in material and political terms. Wittig provides her most com­plete account of how literature and politics work together. Part of the generation that revolutionized French literature, Wittig reveals the secret of her craft: that the work a writer does with language is itself a form of resistance.Born and raised in France, Monique Wittig (1935–2003) was a driving force in second-wave feminism and one of the most brilliant authors of her generation. A provocative thinker, she famously declared that lesbians are not women and in­troduced women into a materialist framework by treating them as a class. Wittig is the author of, among other titles, The Straight Mind, Les Guérillères, and The Lesbian Body. Her debut novel, The Opoponax, won Le Prix Medicis.

Softcover, 216pp Routledge, 2024 (first published 1937)xperiment in Leisure continues Marion Milner’s unique and compelling investigation into how we lead our lives, complementing the account she began in ​A Life of One’s Own. Attempting to understand the gap between what she memorably describes as ‘the poverty of words and the reality of living’, she draws on memory images – in books, mythology, religious experience, travel, and even going to the theatre – that seem to point to a suspension of ordinary, everyday awareness. From this state of emptiness springs an increasing imaginative appreciation of being alive and, as Milner concludes, of being a woman. With a new Foreword by Akshi Singh, ​An Experiment in Leisure remains a striking and captivating adventure in thinking and living with uncertainty, whose insights remain fresh and relevant today.

Softcover, 148pp Late Music, 2026'From the Ruins of the Literal,' a title borrowed from the metaphor theory of philosopher Paul Ricoeur, offers a critical perspective within the fields of organology and timbre studies, moving past the empirical, neuro-cognitive, and modernist biases that have long dominated the disciplines. Although these parameters are necessary in illuminating the full picture of instruments and timbre, they are also severely insufficient in their scope, failing to rigorously account for the poetic and affective dimensions of sounding experience, which are inherently phenomenological categories.As such, this discussion aims to push our understanding of timbre beyond the constraints of acoustic fundamentalism, and to position it as an emergent construct (the-sound-of), as a total and autographic complex with its own time and space. To this end, alternate ways of apprehending affordance, actor-network, and dialogic interaction theories are considered, asserting deeper awareness of mediation, worldmaking, ‘thickness,’ and this-ness in the timbral experience. This discussion also seeks to expand our appreciation of meta-objects that can be encountered timbrally, which includes but is not limited to traditional musical instruments. As methodology, an embodied epistemology is underscored as the prerequisite to timbral ontology.Perhaps the most salient conclusion that can be drawn from accepting timbre as an emergent construct is the presupposition of an iconic-symbolic and transcendent structure; an implied transition from first-order sensation to a second order of feeling, affect, meaning, and, ultimately, truth. What we arrive at, then, is less the paradox of timbre, which ethnomusicologists have correctly noted as empiricism’s inability to account for the poetic dimension of sound, but rather the irony of timbre: once we complete the cycle of timbral thinking, we inevitably arrive back in the realm of the prosaic but with our reality reconfigured and profoundly transformed.Sarah Davachi (b.1987, Canada) is a composer and performer whose work is concerned with the close intricacies of timbral and temporal space, utilizing extended durations and alternate tuning systems to underscore gradual variations in texture, harmonic complexity, intonation, and psychoacoustic phenomena. Her compositions span solo, chamber ensemble, and acousmatic formats, incorporating a wide range of both acoustic and electronic instrumentation. She holds a bachelor’s degree in philosophy from the University of Calgary, a master’s degree in electronic music and recording media from Mills College, and a doctoral degree in musicology from UCLA.

Softcover, 328pp Penguin, 2026From one of the most original, creative, and provocative writers on American culture comes a now-classic collection of essays, delving ‘far and wide into Black music, into film, into the beats and rhyme of culture’ (Questlove).These pieces orbit social, pop cultural, political, and economic subjects­— from the rise of hip-hop, the art of Jean-Michel Basquiat, the music of Miles Davis, James Brown, Jimi Hendrix, Bad Brains, and many others, to the crisis of the Black intellectual and the irony of the GOP recruiting Black Americans. With unrivalled flair, Tate writes in a voice that is at once angry, joyous, self-critiquing, and dazzlingly witty.

Softcover, 274pp Cambridge University Press, Informed by fascinating interviews, photographs, and previously unexamined archival materials, this book reveals a compelling story of Yugoslav avant-garde and experimental music from 1945 until 1991, ending with the year when all artistic activities came to a sudden halt with the start of the Yugoslav wars. It examines the political, social, and cultural events that gave rise to the flourishing avant-garde scene in the country and follows the emergence and development of Yugoslav cultural programs in the postwar period that made the republic a magnet for cultural exchange, through to the sudden and violent dissolution of those programs with the collapse of the political state. The book is the first full-length book in English on the subject, and provides an indispensable, interdisciplinary resource that will contribute to the preservation of this legacy.

Softcover, 384pp University of Chicago Press, 2026An artist draws two octaves of pitches randomly from a hat, just enough to set each syllable of the dictionary definition of imprimer (to score, to print). Trawling the internet for cute videos of cats “playing” piano, an artist splices together a complete, note-perfect performance of Arnold Schoenberg’s Opus 11. Half a century after the release of Miles Davis’s album Kind of Blue, a jazz quintet spends months of focused practice to reproduce the original exactly. These performances share a common denominator: absolute fidelity to the outcome of a system. From Marcel Duchamp to Yoko Ono, Steve Reich to Sun Ra, The Sound of Thinking brings together a diverse array of musical or sonic works that are algorithmic, automatic, permutational, procedural, or otherwise structured in contrast to the creative expressivity typically associated with artistic production. In twenty-six short essays, each keyed to a term that begins with a different letter of the alphabet, Dworkin discusses work composed or performed according to a predetermined rule, transforming artistic creation into a system running its course. The pieces detailed here, drawn from more than a century of musical experimentation, offer a fresh perspective on the history of innovative music by decoupling music from expression and by shunting creativity from the level of organizing sounds to the level of devising a system that can do the organizing. Not only does this book spotlight the critical role of music in twentieth-century conceptual art, but it also identifies previously overlooked links among diverse artists and movements.

Hardcover, 384pp White Rabbit Book, July 2026The most abstract, playful and confounding of reggae subgenres, dub is a vital component of sound system culture that has wielded disproportionate influence. Emerging as an underground phenomenon in Kingston during the early 1970s, dub was wrought by sonic alchemists such as King Tubby, Lee 'Scratch' Perry, Prince Jammy and Scientist, conjuring musical mutations at the mixing desk. Dub reached other lands through the Jamaican diaspora and as Lloyd 'Bullwackie' Barnes furthered the form in New York, Dennis Bovell, Mad Professor and Adrian Sherwood conjured their own dub masterworks in London, Jah Shaka and his acolytes subsequently helping dub to achieve global reach. Widely adopted by post-punk producers and later a crucial influence on the underground dance music scenes of several continents, dub indelibly changed the techniques and aesthetics of music production with far-reaching effects; it's no exaggeration to say that without dub, there would be no hip-hop or house music.Dub is made from studio trickery, its auteurs fashioning something new by subtraction rather than addition, reversing standard recording techniques. It is a music of absence and deception, a ghostly sonic doppelganger with bass primacy and torpedoed song structures, full of holes and unexpected twists. The evolution of dub marks the birth of the remix and the emergence of the studio as an instrument in itself, a place where songs can be pulled apart and given wild reshaping, rendering a disembodied new form that is often cosmic and typically jagged. Dub's progression is also inseparable from the troubled history of post-colonial Jamaica, blighted by caustic Cold War interventions, attendant gang culture and communal breakdowns. Through first-hand testimony with dub's most noteworthy creatives, David Katz's monumental forensic history of an astounding subgenre that sounds like the future five decades after its inception stands as the authoritative book on a musical art form that continues to fascinate, generation after generation.

Softcover, 128 Pages, 20 x 12,5 cm, Print run: 500 Rab-Rab, August 2024  Larisa Reisner’s writings on the Decembrist rising. Originally written in 1925, these essays of Reisner will be for the first time collected in one volume. Translated and introduced by Cathy Porter.

Softcover, 270 pages, 14,8 × 10,5 cm, Print run: 1000 Rab-Rab, March, 2026Eugene Ostashevsky. Alphabet Soup. The Translingual Sayings of Emma and Eva as Recorded by Their Father. With an essay and poems by the author.

Softcover, 80 + 16 pages, 22 × 17 cm, Print run: 1000   Rab-Rab, September 2025  English language translation of Kollontai’swritings on Finland from 1906. Translated and introduced by Cathy Porter.