alphabet poems: for kids! is a collaborative, experimental book of poems and collages that celebrates the sounds and imagery of letters and words as they emerge into meaning. Designed both as a child’s book of poetry and for adults looking to rediscover a language they have lost, this surreal and playful reimagining of an ABC book appeals to kids of all ages. Written for and dedicated to the authors’ children, these poems are love letters to the English language, drawing on avant-garde poetic traditions to celebrate the sounds and imagery of letters and words as they emerge into meaning. Moving through the alphabet – each letter illustrated with a beautiful collage – this book is a journey through the foundations of our language. Surreal, imaginative, playful and unlike any picture book of poetry you’ve read or seen before, alphabet poem is absolutely for kids!, no matter how old they really are.Hardback, A5, 55pp Prototype Publishing, 2020

Olavi Laiho’s aliterative anti-fascist text written in 1944 in Oulu prison just before his execution. First time publsihed in its original Finnish and in English translation. Introduction by Minna Henriksson.   Olavi Laiho (1907-1944) was a writer, political organiser, and communist agitator, who was first imprisoned in 1932 – a time when ‘communist laws’ were in effect in Finland – for producing political material and running an illegal printing press in his home. He opposed Finland’s WW2 era fighting alongside Nazi Germany against the Soviet Union, edited illegal journals, but also planned armed resistance and facilitated correspondence between the party’s leadership in Helsinki and the Soviet embassy in Stockholm. He managed to hide from the police from when the Continuation War broke in summer 1941 until 22nd of December 1942, when he was arrested while visiting his sister in the parish of Paimio. Laiho was sentenced to death for treason and high treason. He was executed on 2nd of September, being the last Finnish citizen to be executed in Finland.  Just a couple of weeks before his execution, Laiho wrote a remarkable essay ‘Katso Koota’ [Look at K], using only words starting with the letter K. It gives a vivid picture of the political situation of the time: the war is still ongoing, but it has become evident that Finland is on the losing side. Not knowing his execution date, Laiho eagerly awaits a new batch of books to arrive at the prison library, enjoying his coffee substitute and the sound of distant music ... ‘Katso Koota’ is an early example of Finnish modern alliterative writing, a lipogram, a literary technique in which every word must start with the same letter. Laiho’s ‘Katso Koota’ predates the French Oulipo (‘workshop of potential literature’) of the 1960s. Considering that he produced his ‘constrained writing’ under conditions of extreme political and cultural confinement, it can be considered a true form of avant-garde subversion.  Published for the first time based on the manuscript at the People’s Archives, the booklet includes its content translation, a short introduction by Minna Henriksson and two illustrations by Kaisa Junttila.  Designed by Otso Peräsaari, the book is printed in 200 copies and is produced in Kalastaman Seripaja silkscreen workshop and If By Magic risography print house. The publication is realised in the context of the Counter-Libraries exhibition at the Library of the Labour Movement, Helsinki.A5 Staplebound, Softcover, 16 pages (Silkscreen and risoprint) Rab-Rab, Helsinki, October, 2025

Beneath the Surface invites us to pause, listen deeply, and use our voices to reclaim buried stories. This composition presents a radical approach to knowledge production, emphasizing embodied resistance as a crucial means of emancipation. Through personal and collective narratives, and a collection of writings composed over a year, Luïza Luz reflects on the challenges of navigating academic institutions that replicate selective narratives, emphasizing deep listening as both a theoretical foundation and a practical necessity. The work features contributions by Ahmet Öğüt and Jamila Barakat, broadening the dialogue around education, memory, and the power of the collective. Grounded in the body as a living archive, Beneath the Surface encourages listeners to confront shared inheritances and transform trauma into pathways for eco-liberation. In these turbulent times, deep listening becomes our most vital ally. As we grieve not only for lost lives but also for lost connections, we yearn to reconnect with one another and the Earth. Listening—through sound and the felt experiences of our bodies—offers us a way back.  Softcover, 104 pp Contributions by Ahmet Öğüt and Jamila Barakat.   Published by Archive Books and we make it, 2024

The point of departure for the book «Black Ark» with Lee “Scratch” Perry (1936–2021), a Jamaican musical and visual artist who was based in Switzerland, is a detailed inventory of photographs and writings (Spring 2021) from the Black Ark Studios in Kingston, Jamaica, where Lee produced his music from 1973 on. He was a seminal pioneer of dub, an electronic subgenre of reggae that uses sampling, looping, remixing, reverb and echoes to create new songs as well as rework  and appropriate pre-recorded songs and tracks. Black Ark Studios was one of the cradles of dub. It’s also where Lee “Scratch” Perry’s musical approach found an enduring visual counterpart in the form of continuously evolving mural paintings and drawings  as well as shape-shifting assemblages of records, instruments, found objects, posters, newspaper and magazine clippings, and appropriated books. The artworks form actual layers upon layers that are rhizomatically intertwined with the studio building itself  as well as with the furniture inside—and with Perry’s biography and persona. Perry created his very own, dense and eclectic world—a world that is documented in «Black Ark», before it disappears for good: the premises have recently been sold. The photographic documentation of the studio was supplemented by efforts to secure and preserve Perry’s cultural objects as part of a joint project with various cultural institutions. «Black Ark» which reflects the rhythm and layering effects of collage both in its content and the materials used to craft the book. Perry was involved in the conception of the book in its early stages. It also interweaves various media and chronologies. The new photographs of the Black Ark Studios will be juxtaposed with stills from old documentaries and archival photos. The idea of a “house” serves as both a working hypothesis and a metaphor. It will be the starting point and endpoint of various thematic strands, both visual and textual: for example, the book will explore the Black Ark as a “spiritual yard” in the context of African diaspora, as well as looking into archeomusicological aspects. Furthermore, extended captions by Perry’s biographer will provide the backdrop for a kaleidoscopic panorama of Perry’s eclectic and ingenious work. Hardcover, 667 pages, 236 color images, 45 B/W images Edition Patrick Frey, 1st edition, 2026

Felsen’s haunting follow-up to the acclaimed Deceit, a landmark of émigré fiction.  Happiness (1932) is the second novel in Yuri Felsen’s cycle The Recurrence of Things Past. Written as a diary addressed to his beloved Lyolya, it unfolds as an intense stream of consciousness in which Volodya – its anxious, self-scrutinising narrator – revisits the fragile equilibrium of their difficult relationship. When new figures enter Lyolya’s orbit, Volodya’s hard-won certainties begin to collapse. Forced to contend with a series of rivals – a Soviet film star, a dashing ex-soldier, a wealthy businessman – he is driven ever deeper into jealousy and self-analysis, with tragic results. As the relationship fractures, Volodya probes the uneasy bond between emotional suffering and artistic creation, and the elusive nature of happiness itself. Set among the exiled Russian community of interwar Paris, Happiness offers both a vivid social snapshot and an unnerving psychological portrait. Felsen’s exploration of desire, rivalry, masculinity and self-deception, shaped by shifting sexual and emotional mores, feels strikingly modern.trans. Bryan Karetnyk Softcover, 238pp Prototype, 2026

Articles: Shabaka by Tina Edwards, Booker Stardrum by Clifford Allen, Aurora Nealand by Bennett Kirschner, Jazz Now Jazz by Rui Miguel Abreu, The Space Book by Patrick Preziosi, XT by XT (Paul Abbott & Seymour Wright), Naïssam Jalal by Florent Servia, Craig Taborn by Bret Sjerven, the term "Free Jazz" by Pierre Crépon, Alexander Hawkins by Kevin Le Gendre Alan Braufman by Andy Beta, Discaholic column by Mats Gustafsson, album reviews, live reviews, Big Ears Festival photo essay & more.  Softcover, 128 pages We Jazz, Spring 2026

‘I read everything Kapil writes and each time am left in awe at her erudite dexterity to see the book, not as a medium of mere knowing, but of questing. Here she casts the dialectical inquiry between continuity and rupture, deploying cyborgs and monsters to overlay and amplify existential questions for the Anthropocene. The result is an ambitious work of complex yet coherent semiotic prowess I can’t wait to teach from.’ – Ocean Vuong‘This book is for all the monsters. This book is for anyone who did not discover, until it was almost too late, that they were beautiful in the eyes of strangers. This book is for anyone who came upon their origin story in a book of fairy tales in a public library. This book is for anyone who burns to write but does not. This book is for anyone whose idea of a good time resembles a vector, but also a kite. Imagine the blue sky and the cut glass of the kite’s string, glinting at dusk. You’re on the rooftop. This is childhood. This book is for anyone who, in the middle of their childhood, had the sudden thought: ‘I’m no longer a child. This book is for anyone who left their birthplace, for reasons they could not control at the time. Or reverse. This book is for anyone who made home, in the end, out of what it was: a glimpse of the horizon four times a year. This book is for anyone for whom this horizon is dreamed or recollected, a hot green line embedded in the art they make, something a reader or observer would not notice or perceive unless, like the artist, they repeated their walk through the space in which the art was presented, or made.’ Incubation: a space for monsters is a formally innovative, hybrid-genre book that incorporates poetry and prose. Set in a shifting narrative environment, where human bodies, characters, and text are neither one thing nor another, this fragmentary-diaristic text journeys through the spaces in-between. Originally published in America in 2006 by Leon Works, and out of print for the last seven years, this is the first time this seminal text has been available in the UK. Following protagonist Laloo – Cyborg, girl, mother, child, immigrant, settler – on a roadtrip through American landscapes, genre styles, and form, Incubation creates radical space for what is ‘monstrous’. Appropriating iconic American tropes, and the structure of Jack Kerouac’s On the Road, Incubation explores the challenges faced by immigrants in attaining such notions of freedom in so hostile an environment. In this fragmentary document there is a celebration in the cobbling together of lives; global in scope, with an intimate focus on interior voice, this landmark text evidences the early innovations and talents of this T.S. Eliot prizewinning author.

An essential selection of fiction, poetry, and philosophical prose by Ryūnosuke Akutagawa that illuminates the restless brilliance of one of modern literature’s most influential voices. With a foreword by Polly Barton. Hell of Solitude presents a bold and varied selection of writings by Ryūnosuke Akutagawa, one of the central figures of twentieth-century Japanese literature. Bringing together fiction, poetry, and philosophical prose—much of it appearing in English for the first time—this collection showcases the range and intensity of Akutagawa’s imagination. Moving from the whimsical and fantastical to the grave and introspective, the pieces reveal a writer of extraordinary clarity and psychological depth. Interwoven throughout are poems from a prolific body of verse, examples of which are sparse in English, alongside ‘Art and Other Things’, a fragmentary essay in which Akutagawa expounds his aesthetic views while drawing on examples from world literature and art. Translated with sensitivity and precision by Ryan Choi, Hell of Solitude offers a vital reintroduction to a writer whose lucidity, irony, and existential unease continue to resonate across cultures and generations.   Ryūnosuke Akutagawa (1892–1927), born in Tokyo, Japan, was the author of more than 350 works of fiction and non-fiction, including Rashōmon, The Spider’s Thread, Hell Screen, Kappa, and In a Grove. Japan’s premier literary award for emerging writers, the Akutagawa Prize, is named after him. Ryan Choi’s books include In Dreams: The Very Short Stories of Ryūnosuke Akutagawa and Three Demons: A Study on Sanki Saitō’s Haiku. He is an editor at AGNI. His writings and translations have appeared in Harper’s Magazine, The New Criterion, Poetry, The Times Literary Supplement, and elsewhere. He lives in Honolulu, Hawaii, where he was born and raised.  trans. Ryan Choi Softcover, 178pp Prototype, April 2026

Kahlo/Modotti – Forty Years Later is the result of a visit by Laura Mulvey to the Department of Film Studies at the University of Zurich in November 2022. The booklet contains two texts: Mulvey's evening lecture at the Cabaret Voltaire, revisiting hers and Peter Wollen's exhibition and film on Frida Kahlo and Tina Modotti, and Wollen's 2003 essay on the phenomenon of "Fridamania." Focusing on Wollen's and Mulvey's curatorial work and the accompanying film from 1982, the books aims to draw attention to this lesser-known side of their engagement with film and the visual arts. The binary juxtaposition of Kahlo/Modotti, which the film and the exhibition took as a structural principle in the 1980s, becomes a playful quartet in 2024 – Mulvey/Wollen/Kahlo/Modotti – which rearranges and updates the diverse work steps of retrieval, curatorship, exhibition, filmmaking, reception, and reflection.   Laura Mulvey (born 1941, Oxford) is a feminist film theorist and director. Peter Wollen (1938-2019) was a British film theorist and filmmaker.Edited by Pascal Maslon, Volker Pantenburg, Caroline Schöbi, Linda Waack.  bilingual edition (English / German) Softcover, Staplebound, 64 pages (ill.) Harun Farocki Institut, 2024

Paperback, 93pp Litmus Press, 2025Voyage, War, and Exile collects three essays by Etel Adnan that present a multilayered meditation on the author’s life within and without Beirut. Adnan reflects upon the intricacies of family, place, and language, asking what it means to be an Arab woman and writer in exile at the end of a century in which “Exile became the existential and metaphysical condition for every Arab.” At once deeply personal to the life of the author and yet ubiquitous in inquiry, Voyage, War, Exile pulls us into the shifting landscape of Lebanon and the United States in the 20th Century through a weaving of philosophical reflection and memory. This volume includes artwork by Simone Fattal.

First U.S. edition, originally published in the U.K. by MA BIBLIOTHÈQUE, 2020. Under the neon sky of a sick city, which might be London, a nameless governess oscillates between lucidity and dissociation, solitude and communication, wage labor and escape attempts. A wild and unreliable narrator—ardent, delirious, complicit, vengeful, and paranoid—she embodies a perverse and chaotic resistance. An anti-Bildungsroman in the collapsing first person, Yes, I Am A Destroyer is an unbecoming record of memory and forgetting—a relentless undoing. (MA BIBLIOTHÈQUE)Softcover, 140pp Litmus Press, 2025

For sheer unpredictable brilliance, Gogol may come to mind, but no author alive today takes a reader as far as Helen DeWitt into the funniest, most far-reaching dimensions of possibility. Her jumping-off points might be statistics, romance, the art world’s piranha tank, games of chance and of skill, the travails of publishing, or success. “Look,” a character begins to explain, laying out some gambit reasonably enough, though in the face of situations spinning out to their utmost logical extremes, where things prove “more complicated than they had first appeared” and “at 3 a.m. the circumstances seem to attenuate.” In various ways, each of these thirteen razor-sharp tales carries DeWitt’s signature poker-face lament regarding the near-impossibility of the life of the mind when one is made to pay to have the time for it, in a world so sadly “taken up with all sorts of paraphernalia superfluous, not to say impedimental, to ratiocination.”Softcover, 190pp New Directions Publishing, 2018

In the 1960s, a musical revolution took place in the industrial landscapes of Cleveland and Detroit. Disenchanted with the strictures of bebop, musicians forged a new style—free jazz—that took inspiration from a vast range of sources, including figures such as Ornette Coleman, Cecil Taylor, and John Coltrane; African and Middle Eastern music; avant-garde modernism; and the politics and aesthetics of Black Power. How did this radical movement come about, and what explains its creativity and vitality?Based on interviews with dozens of musicians, I Hear Freedom tells the story of free jazz and its connection to the broader Black experience. Cisco Bradley demonstrates that although this part of the free jazz movement arose in the Midwest, it is deeply rooted in the musical traditions and aesthetics that the Great Migration brought from the South. As postwar urban renewal projects fractured Black communities, musicians drew on this heritage to create new forms of expression. Figures such as Albert Ayler, Donald Ayler, Charles Tyler, Frank Wright, Bobby Few, Charles Moore, and Faruq Z. Bey developed distinct artistic visions, often influenced by their involvement in Black liberation movements. I Hear Freedom chronicles the Cleveland and Detroit free jazz scenes, and it follows musicians to New York, Los Angeles, Paris, and beyond. A revelatory oral history, this book shows that free jazz is a uniquely Black style shaped by mobility, community, and the struggle for freedom.Paperback, 496pp Columbia University Press, March 2026

The Haitian Chronicles is a graphic and brutal history of the Haitian Revolution told across three plays. It is the final work by the influential and groundbreaking playwright Douglas Turner Ward (1930-2021) and the first play of his to be published in several decades. Though much of his earlier work has been short one-act satires, The Haitian Chronicles takes place across three long plays: The Rise of Toussaint L'Ouverture, The Fall of Toussaint L'Ouverture, and the one-man drama, Dessalines. The Haitian Chronicles is an example of Ward's political commitment to satirizing, dramatizing, and revealing the structures of white supremacy throughout the history of this so-called civilization. His first play, Star of Liberty, written at 19 years of age, was based the life of Nat Turner and the slave revolt he led. With The Haitian Chronicles, Ward returns to armed Black rebellion, taking as its subject matter the first and only slave revolt to successfully establish a free state. It is a self-consciously ambitious work of astounding narrative and theatrical scope, featuring over 80 speaking roles and logistically demanding production design. The narrative onslaught chronicling the disgusting brutality of colonial French society and the bloody force it took to overthrow it overwhelms the reader and challenges one to question the structures on which society is built and the violence it continues to perpetuate.Ward was one of the central, driving forces of the Black Theater movement in the United States. After moving to New York in 1948, he became immersed in the radical political scene in Harlem, writing for The Daily Worker, and studying as an actor. He served as understudy to Sidney Poitier in A Raisin in the Sun, and began a long friendship with fellow actor Robert Hooks. In 1966, Hooks helped produce Ward’s double bill Happy Ending / Day of Absence. Following the success of these plays, Ward was asked to write an editorial for the New York Times in 1966. His article, titled "American Theatre: For Whites Only?", surveyed the ubiquitous, stifling racism of the American theatre and was widely circulated, earning Ward further recognition for his political and theatrical work. With funding from the Ford Foundation, Ward and Hooks, together with Gerald Krone, founded the Negro Ensemble Company (NEC) in 1967. Writing and directing for the NEC over the next several decades, Ward worked with icons such as Paul Carter Harrison, Gus Edwards, Leslie Lee, Errol Hill, Charles Fuller, Derek Walcott and Wole Soyinka. He directed dozens of plays throughout his career including Song of the Lusitanian Bogey, The River Niger and Pulitzer Prize-winning A Soldier’s Play. Ward continued to write until his death in 2021– The Haitian Chronicles is the result of over four decades of work, a superb series of plays by an inimitable writer and artist.First edition. Softcover, 366pp Boo-Hooray, New York, 2020ISBN: 9780578576114

finally there are the rolling stones who call for all these at the same time among them and around them: the policeman, the cross-dresser, the dancer, Frankenstein, the dandy, the robot―from Dusty Pink Written with the hope of achieving a “dreary distant banality,” Jean-Jacques Schuhl's first novel is a subjective stroll through an underground, glamorous Paris, a city that slips into the background but never disappears, hovering on the verge of its own suppression. An elegiac and luminous cut-up, Dusty Pink brings together race wire results, editions of France-Soir, the lyrics to well-known British songs, scripts from famous old films, pharmaceutical leaflets, fashion ads, and strips and scraps of culture in which the avant-garde and academicism blur in an overview of the cultural scene. This world of atmospheres, portraits, and dazzling associations of ideas creates a plane of shimmering surfaces. Published in French in 1972, Jean-Jacques Schuhl's Dusty Pink became a cult classic. This is its first translation.Translated bn Jeffrey Zuckerman Softcover,118pp MIT Press, 2018

The independent British film journal Afterimage published thirteen issues between 1970 and 1987. International in scope, it surveyed the many forms of radical cinema during an extraordinary period of film history. Having emerged in the wake of post-1968 cultural and political change, Afterimage charted contemporary developments with special issues on themes such as the avant-garde, Latin American cinema and visionary animation, and also looked back at early film pioneers. It published many of the leading critics of the period and vitally provided a forum for filmmakers’ writings and manifestos. This indispensable collection includes texts by scholars Noël Burch, Roger Cardinal, B. Ruby Rich and Peter Wollen, filmmakers Jean Epstein, Jean-Luc Godard, Derek Jarman and Jan Švankmajer, plus extended interviews with Hollis Frampton and Raúl Ruiz, and more.Edited by Mark Webber Hardcover, 352 pp, with b/w images throughout The Visible Press, May 2022

Second Edition, 2024, 2000 copies New expanded edition, originally published 2019 210 pp, paperback, umland editions  bilingual english/french"Éliane Radigue is considered one of the most innovative and influential contemporary composers from her early electronic music through to her acoustic work of the last 15 years. Influenced by musique concrète and shaped by regular sojourns in the United States where she discovered analogue synthesizers, her work unfolds an intensity which is at once subtle and monumental. Through her deep reflections on sound and listening, not only her music but also her working methods have come to shape a widely resonating set of new parameters for working with sound as musical material. “In the long interview that forms the body of this publication Radigue talks about her work, her reflections and underlying research as well as her historical context. The publication also contains an annotated list of works and Radigue’s programmatic text on “The Mysterious Power Of The Infinitesimal”.” Edited by Julia Eckhardt with texts by Éliane Radigue and Julia Eckhardt. With 62 black and white illustrations. Julia Eckhardt is a musician and curator in the field of the sonic arts. She is a founding member and artistic director of Q-O2 workspace in Brussels for which she conceptualised various thematic research projects. As a performer of composed and improvised music she has collaborated with numerous artists and extensively with Éliane Radigue. She has performed internationally and released a number of recordings. She has been lecturing about topics such as sound, gender and public space and is (co-)author of The Second Sound, Conversation On Gender and Music, Grounds For Possible Music, and The Middle Matter, Sound As Interstice. ---

A voyage in the insight which comes as a kiss and follows as a curse, made after you ran out of things to say.——first halting efforts at mutual understanding——love letters from twelve years ago. journal entries from fifteen years before lick at the edges like flames. Opaque coloured shadows, projected in three dimensions——of a——future that——has. never ceased to exist and which——Doesn’t——.——.——arrive to speak about their fears.—— Beginning with a naked bathroom selfie.An attempt to live nonjudgmentally and without fear, against the desire to be something other than who you were, as a basic form of class hatred, a fear of the common and of everything that happens there, near speechlessness, trailing off, only sometimes coming back to life again, shame dies so that everything else can be saved, and everything else remains present against the background of this absence, beneath the harsh overhead light, as you pull on the pathetic, unassuming string of the pullcord.Dedicated to one person, written by one another. “Poems written by / different poets / are my nakedness.”Pre-order, end of April Softcover, sewn, 80pp The Last Books, April 2026