120 x 185mm, 72 pages, Risograph printed, Spiralbound Genderfail, 5th Edition of 250, 2024Imperfect Archiving, Archiving as Practice: The Ethics of the Archive is a special 4th edition of our popular essay printed in conjunction with the opening of Imperfect Archiving/Archiving as Practice a reading room by GenderFail Archive Project at The Center for Book Arts. The exhibition is on view at Center for Book Arts Manhattan location from July 9th- September 18th 2021. This manifesto talks to core of GenderFail collecting and archiving practices that looks to the softness of the collected and archived book as a metaphor for the type of content that are housed within. The GenderFail Archive Project is a socially engaged reading room that looks at archiving as a social activity. The project stems from GenderFail’s desire to share the publications from their personal library and give a platform to other publishers that they cherish. Visit the exhibition page here: https://centerforbookarts.org/genderfail-archive-project-exhibition Along with the essay, this 4th edition features 10 curated GenderFail Archive Project reading lists from my Publishing Now class taught from 2021-2023. In Late 2020 I was offered a teaching position at SMFA, Tufts University to teach a course I designed called “Publishing Now.” For this course I wanted the students to read zines and publications being produced in real time, so I started to digitize my collection. Many of the readings for this course were scanned from my personal collection of over 2,000 zines, artist books and art books that make up the GenderFail archive. Since we were not able to meet in person (due to the pandemic) I spent hours scanning zines and artist books to be used as required readings for the course. Each of the reading lists will accompany a link and QR code to read and engage with each of the publications online.

Quim Pujol is an experimental artist and curator working at the crossroads of language and live arts. 104 pages, 11 x 16.5 cm, sewn perfect binding Varamo Press, Nov, 2024When he was prevented from guiding a writing workshop, Quim Pujol resorted to collecting exercises for the participants to work with by themselves, either alone or in small groups. These exercises, suggestions and scores draw on a wide variety of sources, such as poetry, experimental literature, dance, popular performance practices, visual art and all kinds of text populating everyday life. Now expanded into a book, they are invitations to read, write and daydream, to ‘complicate our relationship to language’ and imagine texts in multiple guises. Potential literatures that give pause, redirect the attention or, at times, simply ‘produce a comforting doodle in the volatile palimpsest of human flesh’.

A5 staplebound, 36pp Bricks from the Kiln, 2024‘tendentious | neo-semantics’ is a collection of text-sound pieces by Lily Greenham transcribed and (re)typeset from a previously unpublished edition originally written in 1970. Reproduced and revocalised in dialogue with the Lily Greenham Archive at Goldsmiths, this new edition is bookended by excerpts of contextual writings by Greenham — ‘a few remarks’ (1970 / 71), ‘language and its uses: lingua tongue’ (1972) and a ‘post scriptum’ to the essay ‘lingual music’ (1977) — and also punctuated by ‘aphorisms’ and ‘50 words stories’ as structural beats between semantic poems. A tall format hole-punched insert contains a written remembrance by Larry Wendt and a photograph courtesy of Stephen Ruppenthal. Later in 2024 a vinyl record / catalogue co-published with the Badischer Kunstverein, featuring recordings of vocal performances by Anna Barham and Ute Wassermann, will follow.

Edited by Helen Marten, Harriet Moore & Matthew Stuart Paperback, 240pp December, 2024Bricks from the Kiln is an independent publisher of books, editions and a somewhat yearly journal. Co-run by Matthew Stuart and Andrew Walsh-Lister between the UK and US, and founded in 2015, its output is largely concerned with explorative yet critically minded forms of writing and language sitting at the intersection of art, design and literature.   Guest edited by artist Helen Marten and literary agent Harriet Moore with Matthew Stuart, this volume of the journal considers what it means for a publication to be an allegorical container. A simple box in which to gather multiple things, an economical set of permutations — rational in one sense, yet defiantly flexible to move. Contributors were approached with an open invitation; some explored the multiplicities of containing or containers, while others filled the printed vessel with their own ongoing preoccupations. The following pages perform as envelope, bag, shell, net, fold, alarm, letter and instruction. There are holes to disappear within; smoke to knot and wind; shadows to unfold — a context that takes in and binds, finding new kinships from unforeseen proximities.

Authors: Filipa Ramos, Panamby, María Morata and Lorenzo Galgó, Marie Skousen, Natasha Thembiso Ruwona, Zachary Schoenhut, Pauline Ruffiot, alfonso borragán, Valeria Mata and Maxime Dossin, Esther Gatón, Cristóbal Olaya Meza, Paloma Contreras Lomas. Edited by Yuri Tuma & Gabriel Alonso Paperback, 180pp Cthulhu Books, 2024The Compost Reader series sees the world as an interconnected being, where all its parts relate to one another. Composting as a way of cultivating consciousness through questions instead of answers, and from uncertainty and doubt. Hydro-memories, a talking lion, sounds that live in a snail shell, a dry swamp, a herbal medicine witch girl, ephemeral queer performances, chemical-sensing tentacles, stone eaters, scriptures-fossil, heavy cheese-like lids, dolphins in traffic, blue humanities, and digital forensic public spaces are some of the matters fermenting in this Compost Reader.

by Joe Mcphee, as told to Mike Faloon. Foreword by Fred Moten. Afterword by Moor Mother  Corbett vs Dempsey, 2024   Joe McPhee is a multi-instrumentalist, improvisor, composer, and poet based in Poughkeepsie, New York. His acclaimed LP Nation Time was recorded in 1970; fifty years later, its track “Shakey Jake” was featured in the “Defiant Jazz” episode of the television series Severance. McPhee has recorded for numerous record labels, including CjR and Hat Hut, both of which were founded expressly to release his music. His most recent production is Musings of a Bahamian Son, which features McPhee reciting his own poetry. Mike Faloon is a teacher and writer based in New York’s Hudson Valley. He is the author of The Other Night at Quinn’s: New Adventures in the Sonic Underground. Fred Moten is a poet, scholar, editor, educator, and performer based in New York. Among his many books are In the Break, The Feel Trio, Black and Blur, and perennial presence fashion falling. Moor Mother is a poet, professor, musician, and interdisciplinary artist based in Los Angeles. She is half of Black Quantum Futurism. Her discography includes Black Encylopedia, Jazz Codes, and The Great Bailout, and her most recent book is American Equations in Black Classical Music.In Straight Up, Without Wings, Joe McPhee surveys sixty years in creative music. Starting with his trumpeter-father's influence and formative years in the U.S. Army, McPhee recounts experiences as a Black-hippy-cum-budding-musician based in upstate New York, perched at an ideal distance from Manhattan’s free jazz demimonde of the 1960s and its loft scene of the 1970s. A natural storyteller, revealing never-told tales and reveling in the joys of noise, McPhee puts the influence of – and encounters with – Ornette Coleman, John Coltrane and Albert Ayler into the context of an independently-minded young player, ravenous for experience, dealing with the crucible of racism, seeking to break out beyond the bounds of a regional Hudson Valley scene that he knows like the back of his hand. The memoir draws forward through thrilling passages in Europe and across the United States, as McPhee gains momentum, as his music becomes the impetus for multiple record labels, as he collaborates with figures from Peter Brötzmann to Pauline Oliveros, and as he eventually goes on to inspire musicians far and wide. Written as an oral history, deftly conducted by Mike Faloon to preserve McPhee’s unique narrative voice, Straight Up, Without Wings includes “reflections” by eight musicians from across the protagonist’s rich history.

Staplebound, 25pp 100 copies printed in Sussex, January 2025 Edited by Harriet Rose Kare Frances  Designed by Robyn McKenzieThe chief aim of the review is to provide a space for critical discussion of, and enthusiasm for, new poetic work published by networks of small presses and/or by poets themselves; with a preference for reviews of work that is particularly ephemeral, hand-made, or limited in circulation. This is in order both to support new work (and poets) and celebrate the communities that make such publica(c)tion possible. Reviews can be academic but do not have to be. Likewise, all other guidelines are to be interpreted freely.  Submissions can be sent to baldanderspress@gmail.com Rolling deadline

Softcover, 38 pages, spiralbound  English language   This zine was born out of a conversation on how picture books for children today are mostly generic, introducing fruit, animals or vehicles. What about picture books with nice illustrations for children in Asia ? FOOD&DRINK; SINGAPORE is our small attempt at introducing food culture in Singaporeto children—and even adults. The text is by Wee Ling Soh in Singapore and the illustration and design by Takako Masuki of ASIAN FOOD DESIGN.

edited by Tom Lea and Chal Ravens First edition of 500 Paperback, 367 NO TAGS, Volume 1, 2024    No Tags is a podcast and newsletter about underground music culture hosted by Tom Lea and Chal Ravens. Designed by All Purpose Studio, this book collects the best interviews and discussions from the first year of No Tags, along with four new essays by some of our favourite writers and thinkers. Featuring: Eris Drew, Simon Reynolds, JK & Bempah, Sorry Records, CCL, Jeff Weiss, lorecore, GG Albuquerque, indie sleaze, Frankie Decaiza Hutchinson, Meaghan Garvey, Ray Philp, Jonny Banger, OK Williams, Iglooghost, the sound of Tory Britain, payola, The Large, Gavin Douglas, Marvin Sparks, Dr Robin James, Lena Raine, Midland, Henry Bruce-Jones, Vivian Host, Chris Zaldua, the spirit of 2011, Amy Lamé, the bursting festival bubble and Fish56Octagon.

Sulaiman Addonia is an Eritrean-Ethiopian-British novelist. He spent his early life in a refugee camp in Sudan, and his early teens in Jeddah, Saudi Arabia. He arrived in London as an underage unaccompanied refugee without a word of English and went on to earn an MA in Development Studies from SOAS and a BSc in Economics from UCL. The Seers follows the first weeks of a homeless Eritrean refugee in London. Set around a foster home in Kilburn and in the squares of Bloomsbury, where its protagonist Hannah sleeps, the novel grapples with how agency is given to the sexual lives of refugees, insisting that the erotic and intimate side of life is as much a part of someone’s story as ‘land and nations’ are. Hannah arrives in London with her mother’s diary, containing a disturbing sexual story taking place in Keren, Eritrea, where the Allies defeated the Italians in the Second World War. In a gripping, continuous paragraph, The Seers moves between the present day and the past to explore intergenerational histories and colonial trauma alongside the psychological and erotic lives of its characters as their identities are shaped, but refused to be suppressed, by the bureaucratic processes of the UK asylum system.

Link to the Free Alaa campaign https://freealaa.net/   Paperback, 448pp Fitzcarraldo Editions, 2021Alaa Abd el-Fattah is arguably the most high-profile political prisoner in Egypt, if not the Arab world, rising to international prominence during the revolution of 2011. A fiercely independent thinker who fuses politics and technology in powerful prose, an activist whose ideas represent a global generation which has only known struggle against a failing system, a public intellectual with the rare courage to offer personal, painful honesty, Alaa’s written voice came to symbolize much of what was fresh, inspiring and revolutionary about the uprisings that have defined the last decade. Collected here for the first time in English are a selection of his essays, social media posts and interviews from 2011 until the present. He has spent the majority of those years in prison, where many of these pieces were written. Together, they present not only a unique account from the frontline of a decade of global upheaval, but a catalogue of ideas about other futures those upheavals could yet reveal. From theories on technology and history to profound reflections on the meaning of prison, You Have Not Yet Been Defeated is a book about the importance of ideas, whatever their cost.

Paperback, 256pp Pluto Press, 2024    Nat Raha is a poet, and lecturer at Glasgow School of Art. She contributed to the collection Transgender Marxism. She has authored four books of poetry, numerous journal articles, and her writing has been translated into eight languages.  Mijke van der Drift is tutor at the Royal College of Art, London. Mijke’s work on ethics has appeared in various formats in journals, performances, and sound pieces. Together, Nat and Mijke co-edit Radical Transfeminism zine.‘Femme’ describes a constellation of queer, gendered expressions that uproot expectations of what it means to be feminine. Building upon experiences of transformation, belonging and harm, this book offers transfeminist contributions to movements for collective liberation. Trans Femme Futures envisions the future through everyday actions that revolutionise all of our lives. Nat Raha and Mijke van der Drift discuss struggles around trans healthcare, the need for collectives rather than institutions, the importance of mutual care, and transfeminism as abolition. The authors show how social change can be achieved through transformative practices that allow queer life to thrive in a time of climate, health, political and economic crises.

TRIPLE NEGATIVE, Spoilt health OUR CHEAP HEARTS ARE SHEENY SHELLSOUR FOULED HEARTS ARE SORRY CELLSOUR SOLD HEARTS DON’T SHOW OR TELLWHOSE CHEAP HEART HURTS Niente è più possibile ormai! Nothing is possible, it says so on the front of the book. FACE A Mentalhellth resort revamp: 3 former songs (from God bless the Death Drive and Return of the living dirt) obscenely sutured together on the Island of Dr. Jeanne Moreau. The fresh golem is better than those poor pure things. Tropique of concrete: the steel river barge Dr. Stephen Robinson uses as a drumkit* has offended him and he is punishing it atrociously. Mme Tlank [“Anja Büchele”]’s viol-bathosphere drags both down to the abyssal plain while Denis Velimirovich screams like a heartwrecked swift. Somewhere in the building, clinical wastemn [“Matthew Hyland”] is disowning a guitar again.[*yes really] The incoming: we feel way less bad than Patti Smith ever did about stolen money. There’s nothing not superficial about it. Teeth of my plastic skin: sounds of distress or alarm, liable to cause distress or alarm. FACE B Both hands lost on baby bonds bet: favors for the flinching strays, always weak and wide astray. Partly Fleurinette Pasifikaine 2 (same squirming around Mingus/Ellington/Roach’s 1 note each), but recorded at the bottom of the swimming pool on the cover of the Associates’ Fourth Drawer Down. Heute morgen Fliegen ficken Fliegen ficken: yacht rock ballad but the yacht is stranded somewhere in the Massif Central, near the Rodez Clinic where Captain Gaston Ferdière and First Inmate Artaud are fighting with ECT machines. Welfare check hotel*: Velimirovich just keeps immolating things all the time now. Sorry Elvis Presley and John Cale.[*Oh since we mentioned “welfare checks”: ¡¡¡ FREE NEIL HAGERTY !!!Send money to do that HERE:www.gofundme.com/f/suk3t-neil-hagerty-mental-health-legal-defense] Niemandsland: Mme Tlank x Rose Ausländer. If you don’t cry I will. Also if you do. ¡KRANKHEIT IM RECHT! clinical wastemn [“Matthew Hyland”] 12/perpetual winter/a yearINCLUDES THE BOOK: NOTHING IS POSSIBLENERVOUSNESS, OR IMMORALITYDON’T WAIT TO BE HUNTED TO HIDEby T.R.S.: The Fucking Terrible Receding Shapes, trading as TRIPLE NEGATIVE 250 pages128 x 165 mm248 pages (195 b&w; / 53 colour) AND the cassette TRIPLE NEGATIVE, Spoilt health. Edition of 100 copies Not obvious from any of the 3 front covers, but yes this is a Triple Negative product. T.R.S. is the eminence grease, the actual persons irresponsible. Before anyone else gets blamed: almost all writing/drawing is by Clinical Wastemn [“Matthew Hyland”], except for the best piece of writing (Down With Childhood & Adulthood, mostly by Mme Tlank [“Anja Büchele”]) and Best Picture (I IS FOR [YOU ARE NOT] IMPOTANT, by Adam Vass). Denis Velimirovich is right there from start to finish but blamelessly so. See back cover for group portraits [L-R Velimirovich, Tlank, Wastemn in both]. [2 weeks + 2.5 punitive migraines later] So —— the product is a compendium of bad bad grace/gratuitous disgrace, 1997-2022. Written 1998-2016; pictures made 2016-more or less now, apart from photocopied stickers/zine pages etc, which go back to 1997 (e.g. introuvable front/back covers of The Journal of Childish Psychology [*co-ed Naomi Rousseau, praised by the Sozialistisches Patientenkollektiv in a letter stating: only you have illness in your doing]). Other Zeichnungen are all accidence (i.e. opposite of Cagey “chance”). Media are colour pencil, ink, photocopiers, collage. More birds, sea, flowers and Tlank in them than you might think, along with usual utopian city ruins. All 2D going on 1. Even less clue what to write about written parts. Highlights of bathetic basso continuo? Full lyric sheet for Bad Emotional Investments (aggressive begging rebetiko on God Bless the Death Drive). 1998 thing about Artaud/Heaven’s Gate/workplace motivational psych [*1st pub. Semiotext(e) but handscrawled manuscript was so fucked the print version looked like they applied pre-millennial OCR]. Unpublished hommage to Aotearoa’s greatest living artist, Daniel S. Malone. Whole lot of B. Traven, Judge Schreber, Goya, Wm. Blake. Re-refutation of 1637 attempt by Massachusetts Bay Colony governor John Winthrop to refute Anne Hutchinson’s Antinomian heresies. Hymn of praise (described by Ben Watson as “craven”) to the late Robert Dellar/Ldn Mad Pride at large. 1 (one) actual love prose-poem, disguised by its 1st words being “T.J. Clark”, who is most definitely not the addressee.etc etc Whole text section is really just 20 years of trying & failing to write like the late Giovanni Intra [see, finally, www.semiotexte.com/pageee]. Some examples instead of more dysexplanation: Almost everything that befalls Schreber –- irritation by insects, violent headaches, fits of bellowing –- is attributed (with empirical evidence) to miraculous intervention. There’s no such thing as a single cause, there’s always something else behind it. – Nervousness, or Immorality [2004] ‘Non-verbal’ modes of communication are supposed to make life easier to understand and endure by breaking freight trains of language down into discrete, comfortable spaced signals. But each new ‘obstinate blockage’ is also a cryptic alarm. What can a smirk, an insistence, a flick of the wrist, be trusted not to mean other than endless conflicting demands and convolutions? If some people avoid being overwhelmed most of the time, that’s not because ‘non-linguistic’, ‘lateral’ thinking is tied to scientific progress, but because it plays to a bogus gallery of intuitions. – La vie pue, messieurs [1998] In him is the friend of bleeding.His boreholes are explicit and impressive.He would like to experience a Home InvasionAnd is almost afraid that Iwill commit that indiscretion. – Good Clean Dirt [2017] help mental illness to smoke and fume! an outpatient about towneyesore stomach and hidea hundred powers slumbering spoiled the carriagewayfor himself and others – Deforcement [2012] THERE’S NOTHING NOTSUPERFICIALABOUT IT! – Keys to the Street [2006] [clinical wastemn (“M.H.”), 21/4/2023]

Catalog for an exhibition held at Corbett vs. DempseyFebruary 19 - March 27, 2010Includes an introduction by Alan Warner Design by Kathi Bestecvsd0039 softcover, 36 pages, 9 x 7 inches

Catalog for an exhibition held at Corbett vs. DempseyOctober 26 - November 30, 2007Includes an essay by John Corbett Design by Kathi BesteSecond edition, reprinted 2012cvsd0017a softcover, 100 pages, 9 x 7 inches

Fred Vermorel is a pioneer of the in-depth study of celebrity and fan cultures, best known for his controversial "anti-biographies" of pop icons including the Sex Pistols, Kate Bush, Vivienne Westwood, and Kate Moss. Antenne Publishing, 2024Softcover, 160pp 205 x 140mm The Secret History of Kate Bush, first published in 1982 as Kate was on the verge of superstardom, is a daring and unorthodox dive into the world of music, fame, and cultural obsession. Written by Fred Vermorel—a close associate of Malcolm McLaren and Vivienne Westwood, and renowned for his subversive "anti-biographies"—the book shatters the boundaries of traditional celebrity profiles. Told from the perspective of a die-hard fan, it unveils the mystique of one of pop’s most elusive icons while exposing the capitalist machinery driving the entertainment industry. Part biography, part cultural critique, and entirely provocative, this is not just a book about Kate Bush but a rebellious manifesto against the commodification of art. Republished in 2022 by Le Gospel in France, this special edition goes even deeper with unpublished treasures from Vermorel’s personal archive. Featuring an exclusive interview with Kate’s father, Dr. Robert Bush, a razor-sharp foreword by novelist and musician Tony O’Neill (Digging the Vein), and Vermorel’s own afterword reflecting on his explosive work four decades later, this is a must-read for anyone fascinated by Kate Bush, the art of fandom, and the raw power of creative rebellion.

Da Capo Press, 2023 784pp, paperback   Based on more than 200 interviews with Rollins himself, family members, friends, and collaborators, as well as Rollins' extensive personal archive, Saxophone Colossus is the comprehensive portrait of this legendary saxophonist and composer, civil rights activist and environmentalist. A child of the Harlem Renaissance, Rollins' precocious talent landed him on the bandstand and in the recording studio with Bud Powell, Thelonious Monk, Charlie Parker, Miles Davis and Dizzy Gillespie, or playing opposite Billie Holiday. An icon in his own right, he recorded Tenor Madness, featuring John Coltrane; Way Out West; Freedom Suite, the first civil rights-themed album of the hard bop era; A Night at the Village Vanguard; and the 1956 classic Saxophone Colossus.Yet his meteoric rise to fame was not without its challenges. He served two sentences on Rikers Island and won his battle with heroin addiction. In 1959, Rollins took a two-year sabbatical from recording and performing, practicing up to 16 hours a day on the Williamsburg Bridge. In 1968, he left again to study at an ashram in India. He returned to performing from 1971 until his retirement in 2012.?The story of Sonny Rollins-innovative, unpredictable, larger than life-is the story of jazz itself, and Sonny's own narrative is as timeless and timely as the art form he represents. Part jazz oral history told in the musicians' own words, part chronicle of one man's quest for social justice and spiritual enlightenment, this is the definitive biography of one of the most enduring and influential artists in jazz and American history.

Philip Freeman is a veteran music journalist and the author of New York Is Now!: The New Wave Of Free Jazz, Running The Voodoo Down: The Electric Music Of Miles Davis, and Ugly Beauty: Jazz In The 21st Century. He lives in Montana. With a contribution by Markus Müller  Softcover, 344 pp, Fotos Wole Verlag, July 2024  For 60 years, Cecil Taylor’s music marked the farthest boundary of avant-garde jazz. His volcanic piano improvisations, delivered with astonishing technical command and unrelenting power at marathon length, were regarded as the ultimate in free jazz. But Taylor was much more than that: He was one of jazz’s (and America’s) great composers and arrangers, developing a unique and instantly recognizable compositional voice and a radical method of transmitting his ideas that in effect taught the members of his ensembles to speak an entirely new musical language. In the Brewing Luminous is the first full-length biography of Cecil Taylor. In the Brewing Luminous takes the reader from his birth in 1929 to his death in 2018 and beyond. It provides detailed analysis of his extensive body of work, which encompassed solo performance and ensembles of every size from duos to big bands, and included work meant to accompany dancers and theatrical performances. It also explores his poetry and the broader milieu of which he was a part. Taylor was not an island; he was a fixture on the New York cultural scene and welcomed with open arms in Germany, Italy, Japan and elsewhere. And he did not work in isolation — his bands were crucial collaborators, and his music was impossible to imagine without the contributions of players like alto saxophonist Jimmy Lyons, bassist William Parker, and drummer Andrew Cyrille, all of whom and many more are discussed here as well.