Softcover, 7.5 x 10 inches, 392 pp Primary Information, September 2026Deaf Material by Christine Sun Kim showcases the artist’s vast archive of deaf imagery in mainstream culture. Personal yet expansive, the publication collects over 600 vernacular photographs and images Kim has taken in her daily life or collected from books, online resources, and the archives at Gallaudet University. Frustrated by the lack of documentation of Deaf history, Kim began this project in an effort to determine what and who defines deaf aesthetics. The breadth of the archive—which spans pop culture imagery, memes, advertisements, disability signage, artworks, personal ephemera, and much more—presents an overview of deaf visual culture filtered through the incisive criticality and biting humor that the artist has become known for. It is the artist’s hope that Deaf Material will inspire others to begin their own archival projects so that a public and global archive of Deaf culture will emerge. The publication unfolds over the course of 400 pages with a Tumblr-style aesthetic that is framed by 24 distinct categories such as Airports, Celebrity ASL, Call and Wait, Deaf Power, Deaf/death, Parking Lots, and Trash. Kim teases out subtle connections through recurring visual patterns and thematic motifs across these chapters. Interwoven with these images are captions by the artist that expand on the archive through anecdotes, historical context, and commentary, providing an outline of deaf experiences and aesthetics since the late nineteenth century. Christine Sun Kim is an American artist based in Berlin. Kim’s practice considers how sound operates in society, deconstructing the politics of sound and exploring how oral languages operate as social currency. Musical notation, written language, infographics, American Sign Language (ASL), the use of the body, and strategically deployed humor are all recurring elements in her practice. Working across drawing, performance, video and large-scale murals, Kim explores her relationship to spoken and signed languages, to her built and social environments, and to the world at large. Kim’s work has been extensively exhibited and performed internationally.

Softcover, 352pp University of Chicago Press, 2009  edited by Marjorie Perloff & Craid Dworkin   Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, theconnections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essaystake on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.

Softcover, 355pp Spiral House, October 2026 Listening Glossary explores the many meanings and practices of listening. In an era shaped by climate crisis, war and deepening social inequalities, listening is increasingly called upon to bear witness – to melting glaciers, disappearing species, militarised borders, extractive infrastructures and other forms of violence and loss.  This glossary is a practical guide to listening as a social, political and imaginative practice. It gathers over two hundred terms from art, ecology, activism, psychology, education and philosophy across nine decades of thinking about listening as a way of relating to others, environments and structures of power. Entries invite listening through another’s ears or from specific perspectives, encountering forms of listening that range from the non-cochlear to the interspecies.Together, these entries reveal listening as a critical method for understanding and transforming the worlds we inhabit.

Hardback, 190 mm x 270 mm, 168pp Book Works, 2026  The Circle: Timeline for a Constellation concludes Bouchra Khalili’s ten-year investigation into the Arab Workers Movement (MTA), focusing on its theatre troupes, Al Assifa (the tempest) and Al Halaka (the circle, the assembly). Formed by undocumented North African workers in France (1973-1978), the MTA’s theatre groups were central elements in Khalili’s works The Tempest Society (2017) and the book of the same title (Book Works, 2019), the sound piece An Audio Family Album (2020) and the multi-screen film installations The Circle, and The Storytellers (2023) and The Public Storyteller (2024). The publication brings together archival materials, chronological elements, essays, interviews with members of Al Assifa and Al Halaka, performers from The Circle, and a contribution and conversations with the artist. This ‘constellated’ examination highlights the MTA theatre troupes’ pioneering exploration of emancipatory belonging, agency, and artistic expression as fundamental human rights. These experiments culminated in the 1974 presidential candidacy of Djellali Kamal, an anonymous member of Al Assifa. Despite remaining anonymous, Kamal’s candidacy symbolized the potential for a new, egalitarian community, brought to life through performance. This publication invites a new generation of readers to reflect on the lasting legacy of Al Assifa and Al Halaka, exploring how performance and storytelling can harness transformative civic power. The publication expands on the video installation The Circle Project (2023), which premiered at the 15th Sharjah Biennial (2023) and won the Biennale Prize, then at MACBA (2023) and Luma Foundation (Arles, 2023-2024; Zurich, 2025). A french edition of this book was published by Paraguay Press in conjunction with Bouchra Khalili’s multi-site solo exhibitions organized as part of the 2025 Festival d’Automne, for which she was the guest visual artist. Texts by: Bouchra Khalili, Mohamed Amer Meziane, Abdellali Hajjat. Interviews: KJ Abudu, Saïd Bouziri, Hedi Akkari, Smaïne Idri, Mustapha Mohammadi, Philippe Tancelin, Mia Radford, Lucas Yahiaoui. Graphic Design by: Pascal Sémur.

3rd edition with blue cover Softcover, perfect bound 5” x 8”, 68pp cover printed on 300gsm recycled silk.A collection of Jon Hassell’s writing about his own music, a series of dairy-like entries spanning a period of over thirty years. “In trying to fully understand anyone, or anything, I’ve always wanted to get a feel for the physical and psychic landscape of the time: what kind of light was in the room or in the forest, what sounds and smells were in the air, what families and friends looked like, whether there were animals and children around, what were they eating, what was funny, what was sexy, what was sad—in other words, the “atmospherics” of a situation.”Includes essays and notes about the albums Vernal Equinox, Earthquake Island, Possible Musics, Dream Theory In Malaya, Aka-Dabari-Java, City: Works Of Fiction, Fascinoma, Maarifa Street and Listening To Pictures.

A Delicate Stiletto comprises of 10 songs from Herb’s ‘vintage years’. Only 4 of the songs have been officially released before, back in 2006 and the other 6 have been hiding out in Herb’s lounge cabinet for 25 years. Imagine an even more whiskey soaked Dean Martin walking out of the cinema after watching a David Lunch marathon. Entering the nearest seedy night club and going hell for leather on the carpeted stage as a disco ball shines and glistens in the bloodshot eyes of a hundred seated goths. This is Herb DiamantÈ’s world of psychedelic lounge.Cracked lounge crooner Herb DiamantÈ emerged from a long psychedelic incarceration, largely intact, over 30 years ago. His songs of alcohol, tobacco and desire are driven by his rich, golden voice atop a psychedelic showroom of sound. A long, tragic set of strange circumstances and sporadic insanity has somehow combined to create his extended and sometimes frighteningly vivid hallucinatory universe. However, he remains a hopeless romantic and will forever pursue his difficult and evasive vision. Herb has shared the stage and studio with the likes of Sun City Girls and Master Musicians of Bukkake. In his other life as John Godbert, he has played in groups such as Skullflower and Vibracathedral Orchestra. He was in Manchester when Mark E Smith was in short trousers and is the man responsible for the iconic art work of the Fall album Live at The Witch Trials.