Softcover, 120pp BFI Film Classics, May 2025   Elena Gorfinkel is Reader in Film Studies at King’s College London. She is the author of Lewd Looks: American Sexploitation Cinema in the 1960s (2017); co-author with John David Rhodes of The Prop, (2025); and co-editor of Taking Place: Location & the Moving Image (2011), and Global Cinema Networks (2018).Actor-turned-writer/director Barbara Loden's only feature film, Wanda (1970), tells the story of an alienated working-class woman, Wanda Goronski (played by Loden), who abandons her life as a coal miner's wife and mother, electing instead to drift. Bracing in its realist texture and proto-feminist in its sensibility, it received critical acclaim upon release, winning the Critics' Prize at the Venice Film Festival in 1970. Today, Wanda is considered one of the most notable films made by a woman director and a core work of American independent cinema.Elena Gorfinkel's study of this singular film traces Loden's creative process and unconventional approach to filmmaking. Drawing on archival sources, including scripts, interviews, production records, oral history, and previously unseen ephemera, she examines the film's de-dramatised aesthetic, one that rebukes the artifice and “slickness” of Hollywood. Gorfinkel considers Loden's craft in her framing of cinematic time, manipulation of gesture, voice, and posture, narrative ellipsis, and in her use of location and non-professional actors. Providing an account of Wanda's exhibition and reception in the 1970s and after, she traces the film's feminist legacies, and its lasting influence on contemporary filmmakers, artists and writers.

Paperback, 200pp Divided Publishing, Feb 2025Darryl Cook is a cuckold, and that’s exactly how he likes it. He has an inheritance that spares him from work, a manageable and seemingly consequence-free drug habit, and a lovely wife called Mindy who’s generally game for anything—and for as much of it as she can get. But after an accidental overdose and some serious oversharing, Darryl’s world begins to crack up. Tormented by what seems to be the secret truth in sex, and less assured of that secret’s form, Darryl steps into what used to be called real life . . . Darryl is a disarmingly funny and unabashedly intelligent look at a community of people parsing masculinity, marriage, sex (and love) on their own terms.

Paperback, 134pp Hat & Beard Press, Los Angeles, Aug. 2024  With its evocative verses and resonant themes, American Equations in Black Classical Music invites readers on a transformative journey through the melodic landscapes of jazz, the analytical realms of economics, the intricacies of American life. While making room for the speculative, to allow one's imagination to begin to continue to draw from past lessons/innovations to hack future portals for these traditions to breathe new lives. A poet known for her work as MoorMother, Ayewa poems hold that same power. In the poetic tradition of jazz & protest poetry of the 60's and 70's, Ayewa continues to question systems and make connections between the historical and the present. In the tradition of her artistic group Black Quantum Futurism, Ayewa's poems speak to the communal survival mechanisms and temporal technologies that Black musicians and artistic communities have developed, uncovered, reconfigured to combat temporal oppression and reclaim our time. American Equations is an intricate interplay of history, society, and the human condition illuminates the stark realities and poignant struggles of the past and present. From the vibrant jazz culture to the pressing economic disparities, from racial equations to the melancholic strains of blues, and from the enduring legacy of black classical music to the profound impact of time and speculation, these poems delve deep into the interconnections and entanglements that shape our world.

Softcover, unbound, 200 x 250mm, 44 pp, Risograph printing Edition of 150 Vibrational Semantics/ TEXST, Bergen, 2024as the non-world falls away is set of fragmented poetic compositions, created through iPhone scans of the artists notebook that have then been worked over digitally, testing the boundaries between image and text in a palimpsestic manner

Staplebound, 12 pp, risograph printed edition of 150Vibrational Semantics, 2022‘Five Devours’ is a short essay in five parts about need and food as a part of speech, about speech’s relationship to nourishment and hunger; the currency between eating and speaking, expending and consuming.

18 pp, risograph printed , edition of 150Vibrational Semantics, 2022DEAR EAR is a fragmentary text, moving through subvocalization, lingual acrobatics, ingressive speaking and rhythmic reading in various experiences of the visualised voice.

staplebound pamphlet Vibrational Semantics, Bergen 2023‘A Tone or Two’ comes in the form of a text score and a melodic voice work. Noticing a shift in her voice in recent years, Thams tracks how within the last decades female voices have lowered 23hz in pitch. Tuning into the shift toward more gender equality, vocal pitch is explored in relation to authority, electability, courage and rhythmicity. With link to online sound work.

trans. Ivan Kats, revised by Lionel and Sharmini Bailly Paperback, pp. 13 b&w; illustrations Divided, July 2025 Dolto’s Dominique is the only case I’ve found that rivals Freud, and brings us up to date, replete with questions of incestuous trauma, repressed sexualities, autism and cognitive disability, and a profound sense for the contradictions of polite society and histories of colonial and racist violence. I love this child and encountering Dolto’s otherworldly voice as an analyst. Jamieson Webster While the child psychoanalyst Françoise Dolto stands alongside Jacques Lacan as a leading light of the Other French School, she has been little translated and remains curiously unknown in the English-speaking world. First published in 1971, Dominique: The Case of an Adolescent is frank and close to the clinical experience. A masterpiece of the genre, it is at once a granular psychological portrait of a troubled adolescent and his familial inheritance, and a historical case study of French society in the 1960s.Foreword by Michael Ryzner-Basiewicz.

Fourth Edition 1000 copies Rab-Rab Press April 2024 cover : white & silver  A new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962. Including archive material and documents, commissioned theoretical and historical texts, and interviews, the book edited by Sezgin Boynik and Taneli Viitahuhta contextualizes politics of free jazz music in light of global decolonisation movements, anti-war activism, structures of racial capitalism, and forms of avant-garde music. By focusing on concerts of Shepp–Dixon Quartet, leading avant-garde jazz musicians from the US, in the socialist anti-colonial festival in Helsinki, the book is introducing complexities in the usual Cold War stories about the sixties, and pictures politics of jazz as something transcending boundaries of nation-state and capitalist market regulations. Apart from the theoretical and historical overview by its editors, the book includes testimonies of the collective and international spirit of the 1962 Youth Festival, translated documents from Finnish press, a new interview with Archie Shepp, commissioned text by Jeff Schwartz on the historical context of political engagement of free jazz musicians, and reproduction of three hard-to-find texts by Shepp.The book is designed by Ott Kagovere. It is 168 + 32 pages.

Paperback, 120x210mm, 38 pp Veer2 Publication 006, June 2021. 'In Mudchute, the difficult structures of language are carefully treated. Infancy, attachment, ambivalence and loss are disassembled and reconfigured amidst gaunt hedgerows, fuel farm repositories, the bouncy castle and the DLR as Betteridge’s lyric voice navigates the edge of fragmentation. Deeply felt and experimental, apprehensive of and devoted to both the unbearable and the comic aspects of experience and memory, these poems perform the difficult bonds of social life even as they resist them: ‘you cannot live in the house that you are / with everyone’.'  (Helen Charman)'The poems assembled in Mudchute survive the disciplinary function of close reading in demanding and often beautiful ways. They are resistant objects, made to be held in the mouth and turned until the edges of the terms are worn. Across the collection, this Winnicottian regress to 'barest idiom' encounters a forensic vocabulary for ‘all the mute sparkplugs of accreted / emotional and physical violence’ that imprint our lived environments, developmental experiences, and the muddied recesses of generational memory. Torqued between the nuclear family, the experiential group, and the enervated provision of state institutions, the daily work of care becomes at once ‘the poverty of administered / atomized / gapping’ and the intimate horizon of a ‘grazed / lip- / stirred in the face of group kindness.’ It is a horizon we have called communism and reparative reading and family abolition. In Betteridge's work, it is the minimum.' (Fred Carter)     This is part of a series of works organised by Robert Kiely for Veer2, produced and published jointly in the University of Surrey and the CPRC, Birkbeck College.

Veer2 Publication 034, December 2023 Softcover, 13x26cm, 44 pages £1 from the sale of each copy of this book will be donated to Palestine Action's legal defence funds www.palestineaction.org‘Picture a pencil curved, implausibly, parabolically. An implement bending back on itself (core straining) so as to be drawing the surest line, even as its eraser-end is simultaneously rubbing that graphite out. What remains almost never was: mark as memorial to foreclosure. Examined from a certain angle, the un-line flickers in and out of thereness. On registration, it lives, it goes forth. Sub rosa, it knows never to clear its throat. It has learnt to calibrate its signature; it can evade infra-red. Propelling itself through the narrowest channels, it proceeds with resolve, flayingly. Mattar’s And most of all I would miss the shadows of the tree’s own leaves cast upon its trunk by the orange streetlight in the sweet blue darks of spring is taut as writing can be. The tone she makes sound is singular and desperately (gloriously) intent.'- Sarah Hayden‘Piercing and lucid in its exposition of atmospheric violence and total erasure, Mira Mattar gets to the grain of how the languages of selfhood, mediated but also inhibited by the force of the ‘un-universal’, become complicit in forming the sovereign imperative to self-determination, ‘oh arrogant ambition / to transform / you & keep myself / plumed’, through the reproduction of a ‘contested field / of meaning’, one both marked by the lure and ruse of psychic stability as the real fantasy of occupation, and immanent to concrete, unknown modes of personal resistance and collective recovery thread like a ‘rope / in a knot in a line / of knots’, an inherited ‘excess of memory / mostly portal.’ Mattar carefully gleans in its undecidability, given over to moments of precarious decision without ties or duplicity.'- James GoodwinThis is part of a series of works organised by Robert Kiely for Veer2, produced and published jointly in the University of Surrey and the CPRC, Birkbeck College.

photographs by Wassily Bosch,  Paperback, 50pp Monday Press, Kraków/Berlin, 2025 In March 2022, here at Monday Press, we began receiving long emails from an anonymous account belonging to someone we barely knew. These letters were sent from deep underground—so deep that we weren’t even sure if it was safe to reply. They told an insider’s story of a world in the process of being erased: the anxiety, the fear, and the longing for something that was vanishing right before the author's eyes. Over the course of a year, we received four letters and a series of photographs (taken by someone else). The author of the letters is now in a safe place but prefers to remain anonymous. The book describes the Russian noise underground in the first year of the war. It's a devastating read, raw, excessive, hyper-existential, intimate, edge of the world, anti-war, written from the inside.

Softcover book with full color obi-dustwrap. Thread sewn softcover with green thread 292pp Edition of 500 copies   A New Guinea Journey is Dr. Ragnar Johnson's 289 page manuscript concerning his ethnomusicology research in Papua New Guinea during the 1970s. Ideologic Organ has released three double LP/double CD titles of recordings from these extensive, immersive and assimilated research trips. This is the definitive writing on the topic.

with translations by Saskia Vogel Paperback; 130 x 210mm, 248pp; with black-and-white photographs throughout Prototype, London, July 2025In Diary of an Ending, internationally renowned photographer Lina Scheynius expands her artistic vision to prose, offering an unflinching and intimate exploration of heartbreak and self-recovery. Blurring the boundaries between diary and essay, Diary of an Ending explores the break-up of a relationship, combining extracts from Scheynius’s diary – written in Swedish and translated by Saskia Vogel – with reflective essays written in English five years on, exploring ideas about art and photography, sex and passion, the act of diary-making, destructive relationships, motherhood and home. Interspersed with black-and-white photographs, and written with the same unashamed and unfiltered honesty that defines Scheynius’s photography, Diary of an Ending is an intimate hybrid of memoir and autofiction, a meditation on the passage of time and the transformative power of creativity.

paper 7.25 × 9.75 in.364 pages, over 100 color and 100 bw978-1-938221-20-0Siglio press, 2018There are few art-world figures as influential—and as little known—as Dick Higgins (1938–1998), co-founder of Fluxus, “polyartist,” poet, scholar, theorist, composer, performer and, not least, the publisher of the Something Else Press. In 1965 he restored the term “intermedia” to the English language, giving it new dimension to recognize the dissolution of boundaries, the expansion of liminal spaces between traditional modes of art making, and the open field for new forms that cannot be compartmentalized. His own contributions to intermedia are many—as a participant and instigator of Happenings, as writer and composer straddling traditional and vanguard forms, among others—but it was the Something Else Press (1963–1974) that redefined how “the book” could inhabit that energized, in-between space. Something Else Press was as much a critical statement and radical experiment as it was a collection of books by some of the most luminary artists and writers of the twentieth century: Gertrude Stein, John Cage, Ray Johnson, Dieter Roth, Bern Porter, Emmett Williams, Robert Filliou, George Brecht, among many others. Along with his Great Bear pamphlet series and the Something Else Press newsletter, Higgins exploited and subverted conventional book production and marketing strategies to get unconventional and avant-garde works into the hands of new and often unsuspecting readers. Edited by Granary Books publisher Steve Clay and Fluxus artist Ken Friedman, this judiciously curated and indispensable compendium of essays, theoretical writings and narrative prose by Higgins dives deep into the ever-influential ideas that he explored in theory and practice. (It also includes a substantial, highly illustrated Something Else Press checklist including Higgins’ jacket and catalog copy about the books he published.) Clay and Friedman have chosen works that illuminate his voracious intellectual appetite, encyclopedic body of knowledge, and playful yet rigorous experimentation in a selection that includes many writings long out-of-print or difficult to find.

A5, 32 pp Veer Publication 101, April 2024  "Astrophil and Stella was published by Bob Cobbing’s Writers Forum press in 1999. Bonney had been attending the WF workshop for some time and had been impressed by Cobbing’s various energies. His later statement that he 'loved the way he would focus on the text as material, would blow up the words till they fell apart, become simply marks on the page . . .' illuminates this collection. Here the passionate frustrations of Philip Sidney’s sonnet sequence are translated into feverishly-worked grids of improvised spattered charcoal markings. Bonney later moved to a more explicitly revolutionary rhetoric; this text—along with Baudelaire in English (Veer 012)— witnesses a strikingly original response to Cobbing’s practice."

Edited by Stephanie Loveless Paperback, 36pp Terra Nova Press, 2025365 scores for listening in celebration of the legacy of groundbreaking composer Pauline Oliveros. A Year of Deep Listening is a publication of 365 scores for listening gathered by the Center for Deep Listening in celebration of the legacy of groundbreaking composer Pauline Oliveros.  Originally begun online, in honor of what would have been Oliveros' 90th birthday (May 30, 2022), the project shared one score per day across social media for 365 days. The book version of A Year of Deep Listening brings these scores together into one beautiful and historic volume. An expression of the Deep Listening community, the scores were created by over 300 artists—ranging from prize winning composers to ear-minded grocery store clerks, from those who worked closely with Oliveros for decades to those who never met her.

Softcover, 80pp New Directions Publishing, New York, June 2025  Originally published by Angel Hair Press in 1978This landmark early book by the late great Bernadette Mayer is finally available again. Mayer was a marvelous poet in every stage of her long and prolific writing life, but many fans especially relish her restless, powerful, sexy, and erudite early work. One of her signal elements is a deadpan wit, on full display here with classic poems such as “Lookin’ Like Areas of Kansas” or “What Babies Really Do,” or the marvelous “Essay”: I guess it’s too late to live on the farm I guess it’s too late to move to a farm I guess it’s too late to start farming I guess it's too late to begin farming I guess we'll never have a farm I guess we're too old to do farming [...] I don’t want to be a farmer but my mother was right I should never have tried to rise out of the proletariat Unless I can convince myself as Satan argues with Eve That we are among a proletariat of poets of all the classes Each ill-paid and surviving on nothing Or on as little as one needs to survive Steadfast as any farmer and fixed as the stars Tenants of a vision we rent out endlessly