Softcover, 7.5 x 10 inches, 392 pp Primary Information, September 2026Deaf Material by Christine Sun Kim showcases the artist’s vast archive of deaf imagery in mainstream culture. Personal yet expansive, the publication collects over 600 vernacular photographs and images Kim has taken in her daily life or collected from books, online resources, and the archives at Gallaudet University. Frustrated by the lack of documentation of Deaf history, Kim began this project in an effort to determine what and who defines deaf aesthetics. The breadth of the archive—which spans pop culture imagery, memes, advertisements, disability signage, artworks, personal ephemera, and much more—presents an overview of deaf visual culture filtered through the incisive criticality and biting humor that the artist has become known for. It is the artist’s hope that Deaf Material will inspire others to begin their own archival projects so that a public and global archive of Deaf culture will emerge. The publication unfolds over the course of 400 pages with a Tumblr-style aesthetic that is framed by 24 distinct categories such as Airports, Celebrity ASL, Call and Wait, Deaf Power, Deaf/death, Parking Lots, and Trash. Kim teases out subtle connections through recurring visual patterns and thematic motifs across these chapters. Interwoven with these images are captions by the artist that expand on the archive through anecdotes, historical context, and commentary, providing an outline of deaf experiences and aesthetics since the late nineteenth century. Christine Sun Kim is an American artist based in Berlin. Kim’s practice considers how sound operates in society, deconstructing the politics of sound and exploring how oral languages operate as social currency. Musical notation, written language, infographics, American Sign Language (ASL), the use of the body, and strategically deployed humor are all recurring elements in her practice. Working across drawing, performance, video and large-scale murals, Kim explores her relationship to spoken and signed languages, to her built and social environments, and to the world at large. Kim’s work has been extensively exhibited and performed internationally.

Softcover, 25cm x 19cm,  232 pp (112 illustrations, 87 in colour) Reaktion Books, September 2026 A richly illustrated history of medieval Europe's cuisine paired with authentic recipes for today The Medieval Kitchen reveals a world in which food was central to daily life, status and belief. From lavish banquets scented with exotic spices to humble meals of bread, greens and porridge, Hannele Klemettilä paints a vivid picture of how people across Western Europe and Scandinavia prepared, transported and enjoyed food. Richly illustrated and grounded in original sources, the book unveils the surprising sophistication of medieval cooking and dispels long-standing myths about what people ate and why. With more than sixty authentic recipes adapted for the modern kitchen – from hippocras to rose pudding – it offers readers a tangible connection to a bygone era. This is both an inviting culinary guide and a revealing study of how food shaped medieval culture.

Softcover, 352pp University of Chicago Press, 2009  edited by Marjorie Perloff & Craid Dworkin   Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.

Softcover, 17.15 x 24.13 cm, 240pp Primary Information, 2024This volume brings together a half century's worth of work by the renowned American concrete poet Mary Ellen Solt. One of the few Americans, and rare women, in the concrete poetry movement, Solt edited the influential anthology Concrete Poetry: A World View (1968), which brought her to the forefront of that movement not only as a poet but as an acclaimed critic. While Solt was justly celebrated for her suite of visual poems Flowers in Concrete (1966), much of her work has remained little known or unpublished. From her lyrical engagement with the idiom of William Carlos Williams to her masterful forays into visual and concrete poetry, this volume, assembled and edited by her daughter Susan Solt, provides an in-depth document of a truly singular writer who was at the center of some of the most daring global poetic developments of the mid-20th century. The centerpiece is the section "Words and Spaces," which presents Solt's concrete poems as she envisioned them: typographically precise, visually stunning and commanding on the page.

Softcover, 82pp Tupelo Press, 2026translated by Naoko Fujimoto   A collection of translated Japanese waka-poems, including text collage and haibun-style discourses on translation.Of Women is a collection of translations of Japanese waka-poems from the seventh century to the twelfth century, featuring twenty female poets from this period, when Japanese women’s literature flourished. This book includes poems by famous writers from the era, such as Sei Shonagon (The Pillow Book) and Murasaki Shikibu (The Tale of Genji), and introduces some lesser-known female poets as well. Waka compacts much information in a short form: words with double meanings, unfamiliar phrases, habits foreign to non-Japanese speakers, and hidden historical backgrounds. Direct translations would fail to capture the author’s full intent, so Of Women takes several approaches to capture the original sensory images, including text collage and haibun, short essays that provide historical context and introduce the author before each waka.

Softcover, 355pp Spiral House, October 2026 Listening Glossary explores the many meanings and practices of listening. In an era shaped by climate crisis, war and deepening social inequalities, listening is increasingly called upon to bear witness – to melting glaciers, disappearing species, militarised borders, extractive infrastructures and other forms of violence and loss.  This glossary is a practical guide to listening as a social, political and imaginative practice. It gathers over two hundred terms from art, ecology, activism, psychology, education and philosophy across nine decades of thinking about listening as a way of relating to others, environments and structures of power. Entries invite listening through another’s ears or from specific perspectives, encountering forms of listening that range from the non-cochlear to the interspecies.Together, these entries reveal listening as a critical method for understanding and transforming the worlds we inhabit.

Hardback, 190 mm x 270 mm, 168pp Book Works, 2026  The Circle: Timeline for a Constellation concludes Bouchra Khalili’s ten-year investigation into the Arab Workers Movement (MTA), focusing on its theatre troupes, Al Assifa (the tempest) and Al Halaka (the circle, the assembly). Formed by undocumented North African workers in France (1973-1978), the MTA’s theatre groups were central elements in Khalili’s works The Tempest Society (2017) and the book of the same title (Book Works, 2019), the sound piece An Audio Family Album (2020) and the multi-screen film installations The Circle, and The Storytellers (2023) and The Public Storyteller (2024). The publication brings together archival materials, chronological elements, essays, interviews with members of Al Assifa and Al Halaka, performers from The Circle, and a contribution and conversations with the artist. This ‘constellated’ examination highlights the MTA theatre troupes’ pioneering exploration of emancipatory belonging, agency, and artistic expression as fundamental human rights. These experiments culminated in the 1974 presidential candidacy of Djellali Kamal, an anonymous member of Al Assifa. Despite remaining anonymous, Kamal’s candidacy symbolized the potential for a new, egalitarian community, brought to life through performance. This publication invites a new generation of readers to reflect on the lasting legacy of Al Assifa and Al Halaka, exploring how performance and storytelling can harness transformative civic power. The publication expands on the video installation The Circle Project (2023), which premiered at the 15th Sharjah Biennial (2023) and won the Biennale Prize, then at MACBA (2023) and Luma Foundation (Arles, 2023-2024; Zurich, 2025). A french edition of this book was published by Paraguay Press in conjunction with Bouchra Khalili’s multi-site solo exhibitions organized as part of the 2025 Festival d’Automne, for which she was the guest visual artist. Texts by: Bouchra Khalili, Mohamed Amer Meziane, Abdellali Hajjat. Interviews: KJ Abudu, Saïd Bouziri, Hedi Akkari, Smaïne Idri, Mustapha Mohammadi, Philippe Tancelin, Mia Radford, Lucas Yahiaoui. Graphic Design by: Pascal Sémur.

Softcover, 13 x 21 cm, 504 pp Lenz Press, 2026Lives, Histories & Identities Edited by Carla Subrizi, Paola Ugolini, and Maria Alicata  Texts by Maria Alicata, Lucia Aspesi, Silvia Bottinelli, Lara Conte, Flavia Frigeri, Francesca Gallo, Sharon Hecker, Laura Iamurri, Caterina Iaquinta, Teresa Kittler, Jennifer Malvezzi, Iolanda Ratti, Giulia Kimberly Colombo, Carla Subrizi, Paola Ugolini, Valentine Umansky, Giovanna Zapperi   A project by Fondazione In Between Art Film, edited by Carla Subrizi, Paola Ugolini, and Maria Alicata, this illustrated volume investigates the cinematic, documentary, and video output of women artists and filmmakers operating in Italy in the 1960s and 1970s, situating their research at the intersection of artistic experimentation, politics, society, and technology. With 18 newly commissioned essays about artists and filmmakers Valentina Berardinone, Anna Valeria Borsari, Pia Epremian, Giosetta Fioroni, Rosa Foschi, Laura Grisi, Ketty La Rocca, Le Nemesiache, Cecilia Mangini, Federica Marangoni, Marisa Merz, Gina Pane, Marinella Pirelli, and Angela Ricci Lucchi, it charts a captivating, multifaceted period, the elements of which have now been compiled for the first time in this publication.

Softcover, 297pp University of Chicago Press, 2026Why do we look away from the suffering of others? Why do we cover our faces in shame? Why do we lower our heads in grief? Few gestures are as universal as the averted gaze. Fewer still are as ambivalent and inscrutable. In this incisive study, Benjamin A. Saltzman reveals how the kaleidoscopic appearance of these gestures in art, poetry, and philosophy has turned them into an essential language for our uncomfortable engagements with the world, challenging us to reflect on the ways we fundamentally relate to others.Into the horizon of contemporary discourse, Turning Away sets out from five influential scenes in which figures avert their gaze: Timanthes’s Sacrifice of Iphigenia, Plato’s Republic, Augustine’s Confessions, Christ’s Crucifixion, and the Fall and Expulsion of Adam and Eve. The gestures of aversion in these scenes refract across visual media, through philosophy and politics, into modernity and the present day, having been reimagined along the way by thinkers like Hannah Arendt, artists like Marc Chagall and Salvador Dalí, poets like Langston Hughes, and many others. Saltzman offers a timely critique of the privilege of turning away and of the too-easy condemnation of our tendencies to do so.

Softcover, 65pp Filigree Press, 2026Nell Perry'sCreation Myths documents two years in disarray. It is a chaotic almanac, a half-baked phenomenology. Each poem is addressed to someone, or something; addressees include works of art, human persons, non-human persons, places, inheritances, private property, practices of preservation, ways of being, ways of understanding, and times of the year. The poems are accompanied by a poetic essay, "Imaginary Deaths", which was written concurrently and shares in many of the same themes. Nell's poetry expresses, in its care toward language and modes of address, a deep care for the "other", and asks what that care looks like in its presence and absence, alike. Creation Myths asks what new myths might look like, what new stories, traditions, and moralities emerge when we expand our care from human to non-human, living to non-living.

Softcover, 6 x 9,  200 pages (35 color plates, 15 halftones, 6 musical examples) University of Chicago Press, 2026Lorca on Music  Translated, edited, and with an introduction by Christopher Maurer “Yo ante todo, soy músico,” Federico García Lorca once remarked: “Before all else, I am a musician.” Whether seated at the piano, collecting folksongs on his travels through Spain, or composing music for his plays, few poets have lived music so deeply. For Lorca, songs were “living creatures.” How a City Sings from November to November: Lorca on Music brings together for the first time in English the poet’s writing on music and musicians. In these pages, through lectures, letters, and interviews, Lorca celebrates the musical seasons of Granada, “a city enclosed by mountains and made for music”; the sources of cante jondo (flamenco deep song); the haunting melodies of Spanish cradle songs; and the dance of La Argentina. He describes learning the guitar, staging Spanish ballads in Buenos Aires, and listening to spirituals in New York. In bed with a fever, he compares it to a “delicate tempo rubato of Chopin.” Based on recent archival research, edited and newly translated by noted Lorca scholar Christopher Maurer, this collection offers an intricate and enjoyable counterpoint to Lorca’s poetry and theater.

3rd edition with blue cover Softcover, perfect bound 5” x 8”, 68pp cover printed on 300gsm recycled silk.A collection of Jon Hassell’s writing about his own music, a series of dairy-like entries spanning a period of over thirty years. “In trying to fully understand anyone, or anything, I’ve always wanted to get a feel for the physical and psychic landscape of the time: what kind of light was in the room or in the forest, what sounds and smells were in the air, what families and friends looked like, whether there were animals and children around, what were they eating, what was funny, what was sexy, what was sad—in other words, the “atmospherics” of a situation.”Includes essays and notes about the albums Vernal Equinox, Earthquake Island, Possible Musics, Dream Theory In Malaya, Aka-Dabari-Java, City: Works Of Fiction, Fascinoma, Maarifa Street and Listening To Pictures.

Selected & Translated by Sam Kunkel & Jessica Gossling  Softcover, 127mm x 203mm, 208 pp 1 black & white illustrationFrom the Golden Fly to the Wounded Lion, over 40 animal tales of decadence, mystery, and the uncanny. An original, sumptuously illustrated collection of fin-de siècle animal stories and poems, selected, translated, and introduced by Jessica Gossling and Sam Kunkel. Bringing together works by forty writers including Michael Field, Remy de Gourmont, Lafcadio Hearn, J.-K. Huysmans, Rachilde, and Eric Count Stenbock, this timely anthology explores the inexorable connection between human and animal, from the lion to the ant. Bringing together tales both familiar and largely unknown, some of them translated into English for the first time, The Decadent Bestiary opens a new chapter in the complex story of our relationship with the natural world, showcasing the beasts of beauty and burden that recur in decadent and symbolist writing. Featuring stories and poems from Victor Hugo, Renée Vivien, Aleister Crowley, Iwan Gilkin, Guy de Maupassant, H. P. Lovecraft, Charles Baudelaire, Stanislas de Guaïta, Saki, Hector Chainaye, Jules Renard, Olive Custance, Gustave Kahn, Maurice Maeterlinck, William Sharp, Oscar Wilde, Catulle Mendès, D. G. Rossetti, Max Beerbohm, Eric Stenbock, Rosamund Marriott Watson, Remy de Gourmont, Villiers de l’Isle-Adam, Stéphane Mallarmé, W. B. Yeats, Joris-Karl Huysmans, Jules Laforgue, John Todhunter, Michael Field, Eugene Lee-Hamilton, Rachilde, Jules Renard, E. F. Benson, Emily Pfeiffer, Olive Schreiner, Algernon Blackwood, John Byrne Leicester Warren, Marcel Schwob, Lafcadio Hearn,  Léon Bloy.

Softcover, 127mm x 203mm, 208 pp 1 black & white illustration Strange Attractor Press, 2026 With an afterword by David Tibet and Ania Goszczyńska.   A young woman discovers that dancers at a local discotheque are being driven to acts of insane violence. The place was full of swarming, pugnacious, dangerous missellneous reptile’s… Teenager’s everywhere pounded their way on top of each other crazily strangling, biting and slashing each other’s with broken glass, smashed records or sharpened blades…16-year-old Jennifer Gibbons (1963–1993) wrote Discomania in 1980, alongside her twin sister June-Alison, who was writing her own novel, The Pepsi-Cola Addict (published by SAP in 2023), in the bedroom that they shared.Jennifer offered Discomania to the same English vanity press who would publish June-Alison’s book, but Discomania was turned down for being “too violent, too sexual, and too futuristic.”Long thought to have been lost or destroyed, June-Alison had in fact preserved the typescript of this unique, furious, funny, and strange novel, which we present with Jennifer’s and June-Alison’s blessings.

Softcover, 14.96 x 21.03 cm, 416 pp Strange Attractor Press, 2020  A compendium of strange fiction and hallucinatory tales by both renowned innovators of the weird and little-known scribes of the macabre. An arcane compendium of strange fiction and hallucinatory tales, There Is a Graveyard That Dwells in Man collects chilling stories by renowned innovators of the weird and by many little-known and underrepresented or forgotten scribes of the macabre. Selected by artist, writer, and musician David Tibet, this widely-sourced collection of supernatural rarities continues the bibliographic archaeology initiated with The Moons At Your Door (Strange Attractor Press, 2016), offering lyrical portals into worlds of strange beauty, elegant unease, and creeping decadence. Authors include Lady Dilke, Edna Underwood, Thomas Ligotti, L. P. Hartley, R. H. Benson, Walter de la Mare, Hugh Walpole, Colette de Curzon, L. A. Lewis, Edith Wharton,  and others. The volume also features translations from Coptic, folk songs, and other surprises. Comprehensive biographical and publication histories are provided by noted scholar of bibliographic arcana Mark Valentine. There Is a Graveyard That Dwells in Man offers an unnerving, serpentine tributary to the canon of supernatural literature.

Softcover, 170mm x 240mm, 332pp Heavily illustrated in black & white and 8pp of colour   Strange Attractor Press, 2026A Journal of Archaeology, Folklore, Mythology and Earth Mysteries 1994 - 2003   Collecting a decade of cutting edge writing about archaeology, earth mysteries, folklore, and myth in our ancient landscapes. Occupying those resonant spaces where archaeology meets folklore and myth, 3rd Stone was from 1994 to 2003 the United Kingdom’s most exciting journal for exploring Europe’s ancient past. Here researchers from a wide range of backgrounds, practices and disciplines could exchange knowledge and critique ideas. Established academics and celebrated authors mingled with independent scholars, mystics, and Neo-pagans, all with the common goal of understanding the way our ancient ancestors thought, lived and built in our shared landscapes. The Megalithic Imperative: A 3rd Stone Reader presents a selection of articles originally published in the magazine, alongside new commentaries from the original authors, contextualizing notes from 3rd Stone’s editor Neil Mortimer, and an introduction setting out the magazine’s history and evolution within the alternative archaeology and Earth Mysteries movements of the time. Contributors include Jenny Blain and Robert J. Wallis, Aubrey Burl, Paul Devereux, Brian Edwards, Jeremy Harte, Leslie Ellen Jones, George Nash, Alby Stone, Adam Stout, Cheryl Straffon, Danny Sullivan, Andy Worthington, Jennifer Westwood and Juliette Wood.

Softcover, 69pp Strange Attractor Press, 2024Essays that trace connections between the work of Turner Prize-winning artist Tai Shani and the intellectual legacy of Charles Jencks, one of postmodernism's most playful architectural thinkers.In this newly edited collection of essays, leading writers trace connections between the unique work of Turner Prize-winning multi-media artist Tain Shani, and the intellectual legacy of Charles Jencks, one of postmodernism's most playful architectural thinkers.Catalysed by Shani's exhibition The World To Me Was A Secret: Caesious, Zinnober, Celadon, And Virescent, developed for The Cosmic House in 2024, this far-reaching book draws upon the various mythologies metabolised by Mary Shelley's Frankenstein; or, The Modern Prometheus. A surrealist exquisite corpse made real, the writings gathered here reanimate Frankenstein's Monster within Jencks' definition of Ad-Hocism, whereby the use of materials and objects for unintended purposes, might yield surreal results.A collaboration between The Cosmic House and Strange Attractor Press, Cosmic Caesious, Cosmic Zinnober, Cosmic Celadon, Cosmic Virescent includes newly commissioned works by Anne Boyer, Annabel Frearson, Emily LaBarge, Baseman Saad, and Taylor Le Melle that explore themes of anthropomorphism, the tangled legacies of surrealism, and the Promethean impulse. The book also includes a foreword by Eszter Steierhoffer, Director of The Jencks Foundation, and an introduction and original text by artist Tai Shani.

Silk screened softcover, 206 pages, 11 x 17 cm, Print run: 1000 Rab-Rab, May 2026The first English language translation of Varlam Shalamov’s memoires of the twenties,originally written in 1962. Translated, edited and introduced by Cathy Porter.