Designed by George Townsend and Grace Connolly Linden. Staplebound & Riso printed by Earthbound Press on Context Natural.An interview with Ross Cole, the author of The Folk, with images by George Townsend and an introduction.

Designed by Musheto Fernández Staplebound, 180 x 285mm, Risoprinted by Sunday's Print Service, Glasgow, Summer 2026Our inaugural issue brings together work from some of the most exciting writers and artists in Scotland and further afield: an interview with Lisette May Monroe on her Glasgow International show Hard Lines; an essay by Hannah Proctor about 2016, a profile of Glasgow’s own France-Lise McGurn, and a quasi-ethnographic account of attending a weekend of GI openings from poet Oli Hazzard in our regular section which asks a scene report of those not in that scene. Bumper editor Christopher Law explores the sometimes uneasy relationship between academia and arts spaces in his editorial. We also feature new writing from Akshi Singh, poems from Carle Gent, ekphrastic responses by Colin Herd to the new Dean Sameshima book. Then, mostly Glasgow International exhibition reviews by Gabriel Levine Breslin and the Bumper editors, a review of Iphgenia Baal’s Black Skulls by Evelyn Wh-ell  and ending with artwork by Sue Tompkins.Edited by Leo Bussi, Caitlin Merrett King and Christopher Law. Contributors: Carle Gent, Oli Hazzard, Colin Herd, Gabriel Levine Breslin, Hannah Proctor, Akshi Singh, Sue Tompkins, Evelyn Wh-ell

Softcover, 88pp Verso, 2026The Literary Workshop takes readers inside Monique Wittig’s creative process, unlocking the practice of writing both in material and political terms. Wittig provides her most com­plete account of how literature and politics work together. Part of the generation that revolutionized French literature, Wittig reveals the secret of her craft: that the work a writer does with language is itself a form of resistance.Born and raised in France, Monique Wittig (1935–2003) was a driving force in second-wave feminism and one of the most brilliant authors of her generation. A provocative thinker, she famously declared that lesbians are not women and in­troduced women into a materialist framework by treating them as a class. Wittig is the author of, among other titles, The Straight Mind, Les Guérillères, and The Lesbian Body. Her debut novel, The Opoponax, won Le Prix Medicis.

Softcover, 216pp Routledge, 2024 (first published 1937)xperiment in Leisure continues Marion Milner’s unique and compelling investigation into how we lead our lives, complementing the account she began in ​A Life of One’s Own. Attempting to understand the gap between what she memorably describes as ‘the poverty of words and the reality of living’, she draws on memory images – in books, mythology, religious experience, travel, and even going to the theatre – that seem to point to a suspension of ordinary, everyday awareness. From this state of emptiness springs an increasing imaginative appreciation of being alive and, as Milner concludes, of being a woman. With a new Foreword by Akshi Singh, ​An Experiment in Leisure remains a striking and captivating adventure in thinking and living with uncertainty, whose insights remain fresh and relevant today.

Softcover, 148pp Late Music, 2026'From the Ruins of the Literal,' a title borrowed from the metaphor theory of philosopher Paul Ricoeur, offers a critical perspective within the fields of organology and timbre studies, moving past the empirical, neuro-cognitive, and modernist biases that have long dominated the disciplines. Although these parameters are necessary in illuminating the full picture of instruments and timbre, they are also severely insufficient in their scope, failing to rigorously account for the poetic and affective dimensions of sounding experience, which are inherently phenomenological categories.As such, this discussion aims to push our understanding of timbre beyond the constraints of acoustic fundamentalism, and to position it as an emergent construct (the-sound-of), as a total and autographic complex with its own time and space. To this end, alternate ways of apprehending affordance, actor-network, and dialogic interaction theories are considered, asserting deeper awareness of mediation, worldmaking, ‘thickness,’ and this-ness in the timbral experience. This discussion also seeks to expand our appreciation of meta-objects that can be encountered timbrally, which includes but is not limited to traditional musical instruments. As methodology, an embodied epistemology is underscored as the prerequisite to timbral ontology.Perhaps the most salient conclusion that can be drawn from accepting timbre as an emergent construct is the presupposition of an iconic-symbolic and transcendent structure; an implied transition from first-order sensation to a second order of feeling, affect, meaning, and, ultimately, truth. What we arrive at, then, is less the paradox of timbre, which ethnomusicologists have correctly noted as empiricism’s inability to account for the poetic dimension of sound, but rather the irony of timbre: once we complete the cycle of timbral thinking, we inevitably arrive back in the realm of the prosaic but with our reality reconfigured and profoundly transformed.Sarah Davachi (b.1987, Canada) is a composer and performer whose work is concerned with the close intricacies of timbral and temporal space, utilizing extended durations and alternate tuning systems to underscore gradual variations in texture, harmonic complexity, intonation, and psychoacoustic phenomena. Her compositions span solo, chamber ensemble, and acousmatic formats, incorporating a wide range of both acoustic and electronic instrumentation. She holds a bachelor’s degree in philosophy from the University of Calgary, a master’s degree in electronic music and recording media from Mills College, and a doctoral degree in musicology from UCLA.

Softcover, 328pp Penguin, 2026From one of the most original, creative, and provocative writers on American culture comes a now-classic collection of essays, delving ‘far and wide into Black music, into film, into the beats and rhyme of culture’ (Questlove).These pieces orbit social, pop cultural, political, and economic subjects­— from the rise of hip-hop, the art of Jean-Michel Basquiat, the music of Miles Davis, James Brown, Jimi Hendrix, Bad Brains, and many others, to the crisis of the Black intellectual and the irony of the GOP recruiting Black Americans. With unrivalled flair, Tate writes in a voice that is at once angry, joyous, self-critiquing, and dazzlingly witty.

Softcover, 274pp Cambridge University Press, Informed by fascinating interviews, photographs, and previously unexamined archival materials, this book reveals a compelling story of Yugoslav avant-garde and experimental music from 1945 until 1991, ending with the year when all artistic activities came to a sudden halt with the start of the Yugoslav wars. It examines the political, social, and cultural events that gave rise to the flourishing avant-garde scene in the country and follows the emergence and development of Yugoslav cultural programs in the postwar period that made the republic a magnet for cultural exchange, through to the sudden and violent dissolution of those programs with the collapse of the political state. The book is the first full-length book in English on the subject, and provides an indispensable, interdisciplinary resource that will contribute to the preservation of this legacy.

Softcover, 384pp University of Chicago Press, 2026An artist draws two octaves of pitches randomly from a hat, just enough to set each syllable of the dictionary definition of imprimer (to score, to print). Trawling the internet for cute videos of cats “playing” piano, an artist splices together a complete, note-perfect performance of Arnold Schoenberg’s Opus 11. Half a century after the release of Miles Davis’s album Kind of Blue, a jazz quintet spends months of focused practice to reproduce the original exactly. These performances share a common denominator: absolute fidelity to the outcome of a system. From Marcel Duchamp to Yoko Ono, Steve Reich to Sun Ra, The Sound of Thinking brings together a diverse array of musical or sonic works that are algorithmic, automatic, permutational, procedural, or otherwise structured in contrast to the creative expressivity typically associated with artistic production. In twenty-six short essays, each keyed to a term that begins with a different letter of the alphabet, Dworkin discusses work composed or performed according to a predetermined rule, transforming artistic creation into a system running its course. The pieces detailed here, drawn from more than a century of musical experimentation, offer a fresh perspective on the history of innovative music by decoupling music from expression and by shunting creativity from the level of organizing sounds to the level of devising a system that can do the organizing. Not only does this book spotlight the critical role of music in twentieth-century conceptual art, but it also identifies previously overlooked links among diverse artists and movements.

حمد [Ahmed] - Writing gathers together the [Ahmed] ‘paper’ texts from the last decade: liner-notes; covers of the releases; and writing by the band members – Antonin and Joel have written two fresh ones for this book, Seymour’s have appeared alongside the records, and some of Pat’s come from a time (long) before [Ahmed]. “Together, the ideas-energy in these things gives a sense of what we have done, do, think together (and apart) in living music, how our different ways come together, and how, together, we learn through be-doing [Ahmed]... These texts are woven together (the etymology of text is from weave) through (and into) a rich fabric of enquiry. A collaborative weaving together of difference(s) to make a whole (thing).” (Seymour Wright) Contributions by Pat Thomas, Seymour Wright, Antonin Gerbal, Joel Grip, Robert Levin, James G. Spady, John Chantler, Edward George, Fred Moten. Designed by Will Holder. Thanks to Jef Lambrechts and Stoffel Debuysere. Published by In vitro and KASK School of Arts, April 2026.

Hardcover, 384pp White Rabbit Book, July 2026The most abstract, playful and confounding of reggae subgenres, dub is a vital component of sound system culture that has wielded disproportionate influence. Emerging as an underground phenomenon in Kingston during the early 1970s, dub was wrought by sonic alchemists such as King Tubby, Lee 'Scratch' Perry, Prince Jammy and Scientist, conjuring musical mutations at the mixing desk. Dub reached other lands through the Jamaican diaspora and as Lloyd 'Bullwackie' Barnes furthered the form in New York, Dennis Bovell, Mad Professor and Adrian Sherwood conjured their own dub masterworks in London, Jah Shaka and his acolytes subsequently helping dub to achieve global reach. Widely adopted by post-punk producers and later a crucial influence on the underground dance music scenes of several continents, dub indelibly changed the techniques and aesthetics of music production with far-reaching effects; it's no exaggeration to say that without dub, there would be no hip-hop or house music.Dub is made from studio trickery, its auteurs fashioning something new by subtraction rather than addition, reversing standard recording techniques. It is a music of absence and deception, a ghostly sonic doppelganger with bass primacy and torpedoed song structures, full of holes and unexpected twists. The evolution of dub marks the birth of the remix and the emergence of the studio as an instrument in itself, a place where songs can be pulled apart and given wild reshaping, rendering a disembodied new form that is often cosmic and typically jagged. Dub's progression is also inseparable from the troubled history of post-colonial Jamaica, blighted by caustic Cold War interventions, attendant gang culture and communal breakdowns. Through first-hand testimony with dub's most noteworthy creatives, David Katz's monumental forensic history of an astounding subgenre that sounds like the future five decades after its inception stands as the authoritative book on a musical art form that continues to fascinate, generation after generation.

Softcover, 128 Pages, 20 x 12,5 cm, Print run: 500 Rab-Rab, August 2024  Larisa Reisner’s writings on the Decembrist rising. Originally written in 1925, these essays of Reisner will be for the first time collected in one volume. Translated and introduced by Cathy Porter.

Softcover, 270 pages, 14,8 × 10,5 cm, Print run: 1000 Rab-Rab, March, 2026Eugene Ostashevsky. Alphabet Soup. The Translingual Sayings of Emma and Eva as Recorded by Their Father. With an essay and poems by the author.

Softcover, 80 + 16 pages, 22 × 17 cm, Print run: 1000   Rab-Rab, September 2025  English language translation of Kollontai’swritings on Finland from 1906. Translated and introduced by Cathy Porter.

Softcover, 120 pages, 15 × 19,8 cm, Print run: 500 Rab-Rab, Helsinki, October 2025The book’s starting point is A Shot in the Factory, a 1973 Finnish film. Directed by Erkko Kivikoski, the film is a fictional tale of violent class conflict. The volume expands the scope of the labour struggles represented in the film by discussing a seminal 1971 reportage by writer Marja-Leena Mikkola on women industrial workers, and placing both within the wider context of Finnish labour history. Edited and written by Sezgin Boynik and Minna Henriksson, the book challenges some of the myths surrounding the welfare state by introducing the idea of the ‘factory as subjectivity’. Includes a poem by Maria Fusco.

Softcover, 195pp Rab-Rab, Helsinki, 2026 (2nd expanded edition)Edited by Michael Corris, the expanded edition of In the Belly of the Beast: Art & Language New York Project 1972-1978, is a survey of the tumultuous years of the political Conceptualism in the mid-seventies New York. Artists have always experimented with politics, either by organizing themselves or uniting in support of a broader political movement. Today, “activist art” is taught in universities, supported by foundations, and featured in museums and international exhibitions. Is this the only possible way? In the Belly of the Beast tells a different story, of the work of politically engaged artists and the conflicts they experienced. It is the history of artists wishing to continue working within the boundaries of the artworld and those who were intent on establishing new ideological and class relationships with activists to build a political party. During the 1970s in New York, the Art & Language collective pioneered institutional critique; published a Marxist-influenced journal; agitated against racism and sexism in museums; challenged the cultural imperialism of international exhibitions; and forged a framework for a socialist organization of artists. This new edition includes previously unpublished documents illuminating the contradictions and disputes that lay at the center of the organization and practices of Art & Language and left-wing groups, such as the Anti-Imperialist Cultural Union and the Artists’ Meeting for Cultural Change, mobilizing artists in New York at the time. The new and expanded edition of In the Belly of the Beast features an extensive interview with Michael Corris, who annotated a collection of previously unavailable documents from the period, including manuscripts, pamphlets, transcripts, and letters.

Hardback, 304 pp (full colour), 1.85kg Art Yard Records, 2nd Edition, 2026Twenty years after its first publication, fully revised 2nd edition of Hartmut Geerken's long unobtainable Omniverse Sun Ra, a definitive hitch-hiker's guide to the Sun Ra galaxy. The new, completely revised edition features:- unpublished photographs of Sun Ra and the Arkestra by Hartmut Geerken and Val Wilmer;- fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra;- articles by Geerken, Amiri Baraka, Chris Cutler, Robert L. Campbell, Salah Ragab, Gabi Geist and others;- new full colour images of hundreds of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and coloured LP sleeves.   For five decades, Sun Ra brightened planet Earth with his unique, provocative and esoteric musical philosophy. Touring the world with his formidable Arkestra, he represented and affirmed a new vision of Black history and culture, embodied and spread a new and powerfully influential Black philosophy, and revolutionised music with sounds from beyond the purple star zone. Ra accepted no limitation imposed on him by earthly powers: his vista was the universe, his travel was interplanetary, his music borne along the spaceways as he delivered messages of light to a sleeping world. Now more than ever, the value and radicalism of his protean musical inventiveness, his socially collective self-determination, and his philosophical and poetic profundity can be seen. Where Ra went, we are slowly going, and we will find his message for us waiting there. The new edition of Omniverse Sun Ra is a major contribution to Sun Ra studies, and a dazzling overview of its subjects astonishingly productive career on Earth the definitive companion to the many worlds of Sun Ra.

Paperback, 104pp Divided, London, June 2026Waiting at Martinique Aimé Césaire International Airport, in the city of Le Lamentin, Mayra A. Rodríguez Castro browses the airport kiosk. Alongside books by Césaire, it offers titles by Frantz Fanon, Maryse Condé and Patrick Chamoiseau. She picks up a copy of Nègre je suis, nègre je resterai, a conversation between Françoise Vergès and Césaire published in 2005, and embarks. In Another Sun, Rodríguez Castro and Vergès revisit that seminal conversation, resulting in an eclectic text shaped by ongoing struggles.With poems by Danielle Legros Georges, Wole Soyinka, Ishion Hutchinson, Clarisse Baleja Saïdi, Aimé Césaire and Jean Érian Samson.

Softcover, 124pp Fitzcarraldo Editions, July 2026Welcome to Cafés! Somewhere to eat and forget about work, where we can meet friends and not think about love, where we can meet lovers and be too nervous to eat. In Holly Pester’s unique lyric, the café becomes a structure of fantasy and language exploring life at the pressurized edges. It becomes a form – a canto or a verse – unearthing what this space promises us in terms of freedom and thought, and what it holds back. In each iteration, the café remakes itself through the people who pass through it. A worker tries to run a café franchise. A lover sits in the corner, waiting. A woman mourns a friendship while contemplating age and childlessness. An artist tries to launch an art café and hosts an open mic. Both a stylish political intervention and an elegy for communal space, Holly Pester’s newest collection reaffirms her as one of the most exciting poets of our time.