sinusoidal run rhythm is generated by adding up in-phase cosine functions in whole number ratios. They are temporally and dynamically shifted in their maxima compared to corresponding notated rhythms and feature a physicality that is not present in discretely controlled rhythms. sinusoidal run rhythm thus conceives of rhythm as a wave and clearly stands out from the conventional rhythm theory of a European musical tradition. It opens up an inexhaustible variety of beguiling physical music. The volume depicts this aesthetic diversity in numerous illustrations of the sinusoidal run rhythms. On the one hand, it offers an opportunity to lose oneself in the formations of an extended concept of rhythm and to immerse oneself in the beauty of individual specimens – following the example of books for the identification of beetles or butterflies. On the other hand, the theory encourages us to unbound the borders between imagination and performance, score and interpretation, man and machine and search for applications in music-making, music analysis, psychoacoustics or philosophy. // Steffen Krebber is composer, sound artist and researcher. His work moves between computer music, instrumental and electroacoustic composition, sound art, research, language, epistemology, sociology and media art.

1st edition of 150.  Hardback Book containing over 300 photographs on 228 pages.‘Rain Time’ is an exhibition based on a large collection of photographs found at a flea market in London documenting the self-portraiture of one woman’s penchant for deep-sea submersion via the burgeoning world of rubber fetishism. The work embodies the spirit of the home hobbyist, willing to give her life to science in the ‘experimental diving tank’ otherwise understood as the stand-alone bath tub. Made between the late 1950s and early 1960s, the collection pre-dates the controversial (for post war conservative Britain) Atom-Age publications as well as Helen Henley's Enter with Trumpets, which scandalised a British Public unwilling to let go of its tired conservatism and dusty pearls. The collage works in the collection precede by at least 15 years what would become the cut n’ paste aesthetic of punk, devising and framing new identities culled from images in the daily papers, on the spectrum from Sophia Loren to Mrs Mills. 'Rain Time’ reveals a hitherto unseen world of exploratory erotic investigation taking place for personal satisfaction behind the net curtains of suburban Britain. It is so called for the catalogue of rubber wear accompanying the archive, one subsequently employed by Vivienne Westwood for her revolutionary Kings Road ‘Sex’ shop a decade later.

In 1986, guitarist Marlene Marder published a German-language diary documenting her time in Kleenex/LiLiPUT, Zurich’s first all-female punk band. Thrilling Living is proud to offer a lavishly illustrated English-language edition, featuring over 200 images, including fanzines, interviews, flyers, and photographs, and updated with a new introduction and afterword by editor Grace Ambrose and translator Jen Calleja in addition to the original foreword by Greil Marcus. This is the most extensive document of this influential group, unparalleled in its depth and candor. The book recounts touring, recording, and music business dealings, all from the perspective of Marder, the band’s guitarist. It is an important document of what it was like to participate in the burgeoning music industry, just as punk was taking off. Neither memoir nor scrapbook, but something defiantly in the middle, Kleenex/LiLiPUT is a compelling example of what it looks like to document one’s own life, and all the insights and messiness that entails. T This project is an interpretation, a translation, a republication, an attempt to expand and enhance Marlene’s unruly original. First released by Nachbar der Welt Verlag, the publishing imprint that preceded Edition Patrick Frey, Thrilling Living is proud to make this important story accessible in English for the first time. Published by Thrilling Living.

"We’re PARA and this is our para-sitic and para-temporal cohabitation with 20 Seconds Magazine: 20 PARA Seconds. We’re shifting this specific organism for its sixth issue with a dynamic approach towards publishing as a passage of transgression. With “Non-Present Tense” we want to detach this organism from linearity and progress, declaring this issue a vast disruption."   210 pages, Perfect bound, Softcover, 202320 Seconds Magazine is a biannual print magazine for experimental music and art. For its sixth issue, 20 Seconds collaborated with PARA – the non-entity organisation for sound. Shifting this specific organism for its sixth issue, PARA present a dynamic approach toward publishing as a passage of transgressions. With “Non-Present Tense”, the collaboration offers a detachment from linearity and progress, declaring this issue a vast disruption.

Author: Terry Fox Editor:Michael Glasmeier,Carsten Seiffarth,Kunstmuseum Bern,Terry Fox Association Designer:Prill Vieceli Cremers 192 pp. with 150 black-white and 32 colour illustrations thread-sewn softcover ISBN:9783959052047 Edition Number: 1 Width:19.5 cm Length:24 cm Language(s): Englis The retrospective Terry Fox: Elemental Gestures, which opened at the Berlin Academy of the Arts in 2015 before being shown in Mons, Wuppertal, and the Kunstmuseum Bern in 2017, clearly demonstrated Fox’s key role in the development of art since the 1970s. It not only revealed him as a pioneer of performance, video art, and sound installation but also presented his experimental exploration of language and space. A symposium held in conjunction with the Bern exhibition adopted a variety of approaches to reflect on the performances and installations of this European American based in Switzerland. This is the starting point for the publication in which scholars, artists, and close associates seek to define more precisely the often silent “situations” at work between object and word, sound and sculpture, labyrinth and experience, body and action.

As an industry insider and pioneering post-punk musician, Vivien Goldman’s perspective on music journalism is unusually well-rounded. In Revenge of the She-Punks, she probes four themes—identity, money, love, and protest—to explore what makes punk such a liberating art form for women. With her visceral style, Goldman blends interviews, history, and her personal experience as one of Britain’s first female music writers in a book that reads like a vivid documentary of a genre defined by dismantling boundaries. A discussion of the Patti Smith song “Free Money,” for example, opens with Goldman on a shopping spree with Smith. Tamar-Kali, whose name pays homage to a Hindu goddess, describes the influence of her Gullah ancestors on her music, while the late Poly Styrene's daughter reflects on why her Somali-Scots-Irish mother wrote the 1978 punk anthem “Identity,” with the refrain “Identity is the crisis you can't see.” Other strands feature artists from farther afield (including in Colombia and Indonesia) and genre-busting revolutionaries such as Grace Jones, who wasn't exclusively punk but clearly influenced the movement while absorbing its liberating audacity. From punk's Euro origins to its international reach, this is an exhilarating world tour.

80 pages10.5 x 14 inchesPaperbackMarch 2024ISBN: 9798987624982 Artists featured in The Fluxus Newspaper include: Ay-O, Carol Bergé, Joseph Beuys, Elaine Bloedow, George Brecht, Christo, Philip Corner, Walter De Maria, Willem de Ridder, Bern Erismann, Nye Ffarrabas [participating as Bici Forbes], Robert Filliou, Henry Flynt, Ken Friedman, Carolyn Krumm, Heinz Gappmayr, Eugen Gomringer, Raymond Hains, Dick Higgins, Geoffrey Hendricks, Jon Hendricks, Alice Hutchins, Tatsu Izumi, Ray Johnson, Joe Jones, Allan Kaprow, Milan Knížak, Alison Knowles, Arthur Köpcke, Takehisa Kosugi, Ruth Krauss, Philip Krumm,  György Ligeti, George Maciunas, Angus MacLise, Jackson Mac Low, Larry Miller, Peter Moore, Hans Nordenström, Yoko Ono, Nam June Paik, Benjamin Patterson, James Riddle, Dieter Roth, Takako Saito, Mieko Shiomi, Tomas Schmit, Daniel Spoerri, Christer Strömholm, Yasunao Tone, Stan VanDerBeek, Ben Vautier, Jacques Villeglé, Wolf Vostell, Yoshimasa Wada, Robert Watts, Emmett Williams, William S. Wilson, La Monte Young, Marian Zazeela.he Fluxus Newspaper collects all eleven newspapers published by the Fluxus art collective between January 1964 and March 1979. The newspapers were edited by an ever-changing team of artists known as the Fluxus Editorial Council for Fluxus and every issue, except the last two, was designed by Fluxus founder George Maciunas. Although published irregularly, the newspapers were used to promote Fluxus events and publications, especially the group’s famous multiples and Fluxkits, with advertising materials, order forms, and pricelists interspersed throughout. More than just a space for promotion and information, the Fluxus newspapers featured the work of over sixty artists as well as appropriated newspaper headlines, advertisements, articles, and comic strips that are indicative of the group’s anti-art sensibility and characteristic humor. Issues of the newspapers were originally designated as cc V TRE after the earlier, one-off publication V TRE, which artist George Brecht released on occasion of the Yam Festival (1963). The use of “cc” in these early issues indicated that the publication was a copy of Brecht’s original version. After the first two releases, the editors started to play with various other titles containing “V TRE,” producing issues titled cc Valise e ThReE, Vacuum TRapEzoid, and Vaseline sTREet, among others.

Walter Benjamin was one of the unclassifiable ones... whose work neither fits the existing order nor introduces a new genre.  Hannah ArendtWalter Benjamin was fascinated by the impact of new technology on culture, an interest that extended beyond his renowned critical essays. From 1927 to ’33, he wrote and presented something in the region of eighty broadcasts using the new medium of radio. Radio Benjamin gathers the surviving transcripts, which appear here for the first time in English. This eclectic collection demonstrates the range of Benjamin’s thinking and his enthusiasm for popular sensibilities. His celebrated “Enlightenment for Children” youth programs, his plays, readings, book reviews, and fiction reveal Benjamin in a creative, rather than critical, mode. They flesh out ideas elucidated in his essays, some of which are also represented here, where they cover topics as varied as getting a raise and the history of natural disasters, subjects chosen for broad appeal and examined with passion and acuity.Delightful and incisive, this is Walter Benjamin channeling his sophisticated thinking to a wide audience, allowing us to benefit from a new voice for one of the twentieth century’s most respected thinkers.

Hayes is a maestro of poetic forms and these poems sing with a musical dexterity that embraces vulnerability and ambiguity . . . So to Speak reads like an ambitious mixed-media project questioning the role of art in representing suffering . . . Soul-searching questions ripple through a series of electrifying American Sonnets about James Baldwin, Audre Lorde, Octavia E Butler, Aretha Franklin and Nina Simone, reimagining the works and voices of many black cultural icons.In So to Speak, the dazzling new collection by Terrance Hayes, the poet seeks to understand how we see ourselves now. He draws the reader into fabulous fables, American sonnets and do-it-yourself sestinas as he roves among the predicaments of the present and recent past, piecing together a new map of our times.   Here, a tree frog sings to overcome its fear of birds. Talking cats tell jokes in the Jim Crow South. Green beans bling in the mouth of Lil Wayne, and elegies for David Berman and George Floyd unfold amid the global pandemic. Here, too, Hayes contemplates fatherhood, history and longing, in urgent, personal poems of a remarkable openness and humanity.   Masterful, contemplative and massively alive, So to Speak shows one of contemporary poetry's great innovators at his muscular best. It is a treasure-trove of exploration, and an invitation to each of us to engage in the creativity that makes and remakes our world. It is, above all, the mature, restless work of a leading poetic voice.

130 x 190mm 36 pages Risograph printing, Saddle stitched, Card dustjacketEd. of 100, 2024Heavy footed, peeping you are shadow and stone dial both something given away reveals itself as an experiment into growth & the doughy apology of a reversal Prose poetry looking at sonic energies, technologies, emotions and the body. Attuned to atmospheres and spaces between each other as well as the nervy dissonance between everyday speech and compositions on the page. The writing was in part developed during a sound art residency at Q-02, Brussels, Belgium.Published byRebecca Wilcox

Contributions by Numa Hambursin, Álvaro Rodríguez Fominaya, Géraldine Gourbe, Carla Guardiola Bravo, Rahmouna Boutayeb, Vincent Honoré, Raquel Cecilia Mendieta.Published with This Side Up and MUSAC, León.   published in September 2023   bilingual edition (English / French) 22 x 28 cm (softcover) 216 pages (ill.)An in-depth exploration of the work and destiny of Ana Mendieta, with numerous illustrations and previously unpublished contributions. The monograph devoted the Cuban born, American artist Ana Mendieta at MO.CO. Panacée in 2023 brings together about one hundred works from over fifteen years of production (1968-1985). The exhibition explores in particular how the artist never ceased to reinvent herself, developing an original, ephemeral sculptural language, at times performative in act, nourished by her research into primitive myths and rock art. It focuses especially on revealing her relationship to the visible and the invisible, her way of rendering the unspeakable intelligible through the trace of the body, and how it relates to nature. It is not intended to be a retrospective show, but rather to celebrate the relevance of such political and vibrant contemporary work.Accompanying the exhibition, this richly illustrated publication is introduced by Numa Hambursin and Álvaro Rodríguez Fominaya, in addition to unpublished texts by Géraldine Gourbe, Carla Guardiola Bravo and Rahmouna Boutayeb, as well as an interview of Raquel Cecilia Mendieta with Vincent Honoré.   In a brief yet prolific career, the Cuban-born artist Ana Mendieta (1948-1985) created groundbreaking work in photography, film, video, drawing, sculpture, and site-specific installations. Amongst the major themes in her work are exile, displacement, and a return to the landscape, which remain profoundly relevant today. Her unique hybrid of form and documentation, works that she titled "siluetas," are fugitive and potent traces of the artist's inscription of her body in the landscape, often transformed by natural elements such as fire and water.

220 x 280mm, 120 pages, Colour printing, Perfect bound, Hardback, 2023An overview of John Akomfrah's work, with contributions by Julia Grosse and Nelly Y. Pinkrah, an interview with the artist, along with a foreword by Sebastian Baden.John Akomfrah creates thoughtful video works of haunting audiovisual intensity. He tells of the radical changes and crises of the present and past on characteristic large-format screens. From November 9, 2023 to January 28, 2024, the Schirn Kunsthalle Frankfurt is presenting for the first time a comprehensive overview of the artist's work in Germany, featuring a selection of three major multichannel installations from recent years: The Unfinished Conversation (2012), Vertigo Sea (2015), and Akomfrah's new work, Becoming Wind (2023). A co-founder of the influential London-based Black Audio Film Collective (established in 1982), Akomfrah's work interweaves newly shot film sequences with archival material to create multilayered, at times associative collages, frequently in the form of simultaneous narrative structures. Akomfrah's immersive installations critically examine colonial pasts, global migration, and the climate crisis. He addresses one-dimensional historical representations by allowing multiple perspectives to emerge in the narrative, disrupting the notion of linearity and the illusion of a one and only truth.Published on the occasion of the eponymous exhibition at Schirn Kunsthalle Frankfurt in 2023-2024.

The book is edited by the choreographers and curators Martha Hincapié Charry, Sandhya Daemgen, Raphael Moussa Hillebrand and Matthias Mohr. It is published in collaboration with Radialsystem What potential do embodied practices offer for emancipatory movements? How can community be created through these practices, and what responsibilities does this entail? What role does the body play in the preservation and transmission of knowledge? In Encounters – Embodied Practices Lukas Avendaño, Wagner Carvalho, Sandhya Daemgen, Ismail Fayed, Alex Hennig, Raphael Moussa Hillebrand, Martha Hincapié Charry, Isabel Lewis, Matthias Mohr, Prince Ofori, Mother “Leo” Saint Laurent, Léna Szirmay-Kalos, Thiago Granato, and July Weber reflect on these and other questions through their respective choreographic and curatorial practices

**Original 1985 edition, few copies in stock** Dual Language : English/ GermanEarlier in my life there seemed to be unlimited possibilities, but my mind was closed. Now, years later and with an open mind, possibilities no longer interest me. I seem content to be continually rearranging the same furniture in the same room. My concern at times is nothing more than establishing a series of practical conditions that will enable me to work. For years I said if I could only find a comfortable chair I would rival Mozart.  My teacher Stefan Wolpe was a Marxist and he felt my music was too esoteric at the time. And he had his studio on a proletarian street, on Fourteenth Street and Sixth Avenue. . . . He was on the second floor and we were looking out the window, and he said, “What about the man on the street?” At that moment . . . Jackson Pollock was crossing the street. The crazy artist of my generation was crossing the street at that moment.  If a man teaches composition in a university, how can he not be a composer? He has worked hard, learned his craft. Ergo, he is a composer. A professional. Like a doctor. But there is that doctor who opens you up, does exactly the right thing, closes you up—and you die. He failed to take the chance that might have saved you. Art is a crucial, dangerous operation we perform on ourselves. Unless we take a chance, we die in art.  Just concentrate on not making the lazy move.  Polyphony sucks.  Because I’m Jewish, I do not identify with, say, Western civilization music. In other words, when Bach gives us a diminished fourth, I cannot respond that the diminished fourth means, O God. . . . What are our morals in music? Our moral in music is nineteenth-century German music, isn’t it? I do think about that, and I do think about the fact that I want to be the first great composer that is Jewish.    These quotations are taken from three collections of Feldman’s writings, lectures, and interviews: “Morton Feldman Essays,” which was published in 1985; “Give My Regards to Eighth Street,” which appeared in 2000; and the new anthology “Morton Feldman Says,” edited by Chris Villars. The books testify to the composer’s rich, compact, egotistical, playful, precise, poetic, and insidiously quotable way with language. The titles of his works make music on their own: “The Viola in My Life,” “Madame Press Died Last Week at Ninety,” “Routine Investigations,” “Coptic Light,” “The King of Denmark,” “I Met Heine on the Rue Fürstenberg.” A champion monologuist, Feldman had an uncanny ability to dominate the most illustrious company. Six feet tall, and weighing nearly three hundred pounds, he was hard to miss. He attended meetings of the Eighth Street Artists’ Club, the headquarters of the Abstract Expressionists; he made his presence felt at gatherings of the New York School of poets, dancers, and painters, lavishing sometimes unwanted attention on the women in the room; he both amused and affronted other composers. John Adams told me that he once attended a new-music festival in Valencia, California, and stayed at a tacky motel called the Ranch House Inn. When Adams came down for breakfast, he found various leading personalities of late-twentieth-century music, including Steve Reich, Iannis Xenakis, and Milton Babbitt, sitting with Feldman, who proceeded to talk through the entire meal. “A lovable solipsist,” Adams called him. ... (excerpt from Alex Ross)

‘The Music Mind Experience’ is all about how we can transform our playing and listening into convincing performances and satisfying meditations every time. No neuroscience here: this book is thoroughly practical, intuitive, chock-full of simple practices and deep, common-sense insights. “A fantastic resource. Karl’s purpose is to reach beyond all intellectual concepts and feel the magic of intuitive playing and listening that we are all born with. Very easy to read and follow“ says the world-renown keyboardist John Medeski. The Italian composer Luciano Troja adds: “Karl’s book is miraculous because it speaks in a simple but profound way to musicians and listeners of any background. It opens worlds“ ‘The Music Mind Experience‘ speaks for all kinds of music and styles, because it addresses the elements common to all the music in the world. The great guitarist John Scofield comments: “Karl’s book reminds me of what I‘ve learned from conversations with the great musicians I‘ve known. These masters spoke the truth about getting in the ‘flow’ and the best mental attitude while playing. I‘ve found that these techniques are universal.“ In this book we emphasize the extraordinary power of our intuitive minds. The masters‘ ‘techniques’ that John Scofield is referring to are all explored here in surprisingly simple practices and exercises. We learn to integrate them into our daily routines of musical practice and listening with astounding results: our satisfaction and confidence is growing strong and steadily.Pianist/composer Carla Bley refers not just to this book only, but to Karl Berger‘s life-long work at the now world-renowned Creative Music Studio when she says: “Karl has made it ok for hoards of musicians to explore their particular and personal identities without fear of censure“. The German composer Markus Stockhausen says: “Karl shows us that we all have a hidden capacity of unexplored, infinite creative potential“. And he concludes: “Listening is the key to all the music mind.”

What is the relation between family misfortune and desire? Why must we bury the dead? What is to come for those unburied? How to distinguish the endless stream of graphic violence from violence that goes straight to the bone? How does language make up not only the law, but also unwritten laws? In Let Them Rot Alenka Zupančič takes up the ancient figure of Antigone and finds a blueprint for the politics of desire. Not desire as consumption, enjoying what is offered, but desire’s oblivion to what came before. Such politics says: “No, this world must end and I will be the embodiment of that end.” This is not self-satisfied destruction for destruction’s sake; it is existence with consequences beyond the predictable. Zupančič asks: “Why desire?” And this question of desire, which may be the only question, takes the form of a "no" that is also an “I.”'Writing my book on Antigone, I thought: ‘There we go, the subject is closed―let’s go to sleep.’ And then along came Zupančič with her take and compelled me to rethink everything I did. In other words―and this is difficult for me to say―she is better than me here.'―Slavoj ŽižekA provocative, highly accessible journey to the heart of Sophocles’ Antigone elucidating why it keeps resurfacing as a central text of Western thought and Western culture.There is probably no classical text that has inspired more interpretation, critical attention, and creative response than Sophocles’ Antigone. The general perspective from which the book is written could be summarized with this simple question: What is it about the figure of Antigone that keeps haunting us? Why do all these readings and rewritings keep emerging? To what kind of always contemporary contradiction does the need, the urge to reread and reimagine Antigone—in all kinds of contexts and languages—correspond?As key anchor points of this general interrogation, three particular “obsessions” have driven the author’s thinking and writing about Antigone. First is the issue of violence. The violence in Antigone is the opposite of “graphic” as we have come to know it in movies and in the media; rather, it is sharp and piercing, it goes straight to the bone. It is the violence of language, the violence of principles, the violence of desire, the violence of subjectivity. Then there is the issue of funerary rites and their role in appeasing the specific “undeadness” that seems to be the other side of human life, its irreducible undercurrent that death alone cannot end and put to rest. This issue prompted the author to look at the relationship between language, sexuality, death, and “second death.” The third issue, which constitutes the focal point of the book, is Antigone’s statement that if it were her children or husband lying unburied out there, she would let them rot and not take it upon herself to defy the decree of the state. The author asks, how does this exclusivist, singularizing claim (she would do it only for Polyneices), which she uses to describe the “unwritten law” she follows, tally with Antigone’s universal appeal and compelling power? Attempting to answer this leads to the question of what this particular (Oedipal) family’s misfortune, of which Antigone chooses to be the guardian, shares with the general condition of humanity. Which in turn forces us to confront the seemingly self-evident question: “What is incest?”Let Them Rot is Alenka Zupančič’s absorbing and succinct guided tour of the philosophical and psychoanalytic issues arising from the Theban trilogy. Her original and surprising intervention into the broad and prominent field of study related to Sophocles’ Antigone illuminates the classical text’s ongoing relevance and invites a wide readership to become captivated by its themes.

Anna Zett (b. 1983, Leipzig) is an artist, writer and filmmaker. Her work combines historical analysis and poetic form with playful embodied practice. In 2014 she released two videos dealing with extinct animals as emblems of colonial capitalism in the West, which were screened widely in the context of contemporary art. In recent years, her research into the cosmology of scientific modernism has focused on post-communist trouble, industrialism and the German heritage of violence. Formally, her artistic emphasis moves towards listening, voice and the human body’s capacity to improvise verbal and non-verbal group communication. Zett has written and directed two experimental radio plays for German public radio and (co-)hosted participatory formats of storytelling, discourse and choreography. Artificial Gut Feeling is her first book. She lives in Berlin.If winning can only occur in a competition between equal opponents, someone who isn’t equal will need to adopt a different strategy and let go of the promise, or the curse, of victory. Anna Zett takes up the challenge in this collection of personal science fiction, registering the traces systems of power leave in the body, in its locomotory, nervous and digestive systems. Zett’s voice appears in several textual guises, addressing authority, resistance, trauma and the physicality of language. Dedicated to the feminist revolution, the post-socialist subject of Artificial Gut Feeling questions logocentric and capitalist beliefs about the economy of meaning. This book gathers together fists, guts and brains to gain a deeper understanding of the non-verbal roots of dialogue.

Pulling at the cords of gender's curtains, watchful of the slippages of our performative masks, With Your Chest is a luminously generous and vulnerable debut from Remi Graves. Their poems do justice to the failures and violences of category and yet — thirsting for more than this — are courageous enough to refuse to rest there. In a spirit of playfulness, of childhood, of starlings, Graves' poems glance towards the edges from which we leap, attentive not to where we might land, but to how we might take flight. Victoria Adukwei Bulley Reading With Your Chest, I'm most dazzled by Remi Graves's restless, inventive imagination. Through linguistic and formal transformations, we follow a speaker wrestling with the mind's capacity for harm and consolation. Graves understands the pleasure and power of fantasizing, summoning boxers and cockapoos, Spiderman and Lisa Bonet in these meditations on desire, race, and the body. Pick up this pamphlet, you too will feel the fantasy. Derrick Austin ‘where do you go / to write a body’ sets forth the speaker at the beginning of Remi Graves’ beautifully crafted series of poems. What follows is a mesmeric exploration of betweenness and queer longing; a candid mode of pondering upon the embodied experience of trans navigation with the world, of conditioned adaptation to the threat of existing – ‘I hear them ask almost through gritted teeth / are we men?’ A facet of what makes Graves’ lines so impactful is their kaleidoscopic observation towards the potential of an actualised self; of the speaker, the animals and individuals they witness; and its limitations in practice – ‘but you don’t / know not to look at a ghost / unless you can see it’. I really related to and loved this pamphlet, which so assuredly announced Graves as a vital voice in poetry. Their astute reflections on gender, race and the attractions that move us will stay with me. Peter ScalpelloRemi’s collection of poems looks at race, gender, childhood and relationships. There’s poems about bodies, sex, injustice and love. We can’t wait for you to fall in love with them.   A former Barbican Young Poet, Remi’s work has been featured on BBC Radio 4, at St Paul’s Cathedral and elsewhere. Recent commissions include ‘don’t text me, i’m dreaming’ for Apples and Snakes and ‘On Breathing’ for Barbican Centre. Remi has taught courses at The Poetry School and delivers workshops in schools and libraries across London and UK. Remi was a 2017 National Poetry Day Ambassador and has performed at Cheltenham Literature Festival, Tate Modern and more.