Hardcover, 8.5 x 11 inch, 108pp First edition of 150 copies Recital, New York, 2026Wildweeds Volume II is the followup to Wildweeds (2021), Loren Connors’ first art book, and continues a series of limited artist’s books from Recital devoted to his work outside of music. Following Night of Rain, the book returns to the fragile flower forms of the original Wildweeds, but in a more expansive and varied collection of paintings, drawings, and haiku. Across 108 pages of full-color, hardbound printing, thin stems wander through enormous fields of white, blooming in eruptions of radiant yellow, blue, green, red, and violet. Some pages are nearly empty. Others retain stains, folds, shadows, and the physical disturbances of the original works. The result is a rare survey of Connors’ art, gathering years of paintings and drawings that have largely existed in isolation into one continuous sequence.The haiku appear throughout the white space as small interruptions, sometimes nearly swallowed by the page. “wandering / into the sky / April mist.” They do not caption the paintings so much as drift alongside them, creating another kind of line, pause, and disappearance. The effect is deeply consonant with Connors’ music: the brief guitar poems of Airs, the shadowed miniatures of Lullaby, and the many other recordings and editions that have established his singular language across decades. A note from Connors’ guitar can hover on the edge of audibility, its beauty emerging through restraint and duration; the paintings possess the same fragility. A line bends, a flower appears. Colors pool and then recede into the surrounding white.For this volume, Connors mailed hundreds of paintings and drawings as they were being made, arriving in folders with little concern for preservation or presentation. New drawings arrived often, another envelope every few weeks for a year. From this accumulation, the book was photographed, edited, sequenced, and arranged into its present form. In the preface, Yuko Otomo places Connnors' work within the tradition of Haiga, the Japanese practice of bringing haiku and visual art together. She writes of Mujo, or impermanence, and Ku, or emptiness: the open, shifting space in which things appear and disappear. A flower blooms, a leaf falls, a line fades into the page. Francis T. Patnaude, Jr. describes Connors’ artistic impulse as an attempt to “give form to the formless.” Wildweeds Volume II is an opportunity to spend time inside his quietly accumulated body of visual work: a monograph giving sustained form to years of paintings and drawings. Portrait photograph by Suzanne Langille; art photography and design by Sean McCann.

Hardcover, A4 slightly bigger, 83pp Penultimate Press, December 2025In Transcendental Mathematics, Eric Schmid confronts the fundamental epistemological problem that has haunted philosophy since Kant's fourfold division of knowledge into analytic a priori, synthetic a priori, synthetic a posteriori, and the notoriously empty fourth cell of analytic a posteriori, a schema whose boundaries have been successively contested throughout analytic philosophy, from Carnap's logical empiricism (which sought to collapse the synthetic a priori into the analytic a priori through linguistic convention) through Quine's holistic dissolution of the analytic-synthetic distinction altogether, to Per Martin-Löf's constructive type theory, which, as Neil Tennant documents in The Taming of the True, reconstitutes the synthetic a priori through a meaning-theoretic framework where mathematical truth emerges through judgment acts rather than abstract correspondence. Schmid argues that homotopy type theory provides the technical apparatus to reconcile the perennial tension between Platonist mathematical realism (mathematics as the discourse on being qua being, independent of mind) and Husserlian phenomenology (mathematical objects as constituted through intentional acts of categorial intuition), positions that seemed irreconcilable yet both partially correct. The work's significance is precisely this: where Kant bequeathed philosophy the problem of how mathematical knowledge could be both necessary and ampliative, and where twentieth-century philosophy either eliminated the synthetic a priori (Quine) or absorbed it into the analytic (Carnap), Schmid's "transcendental mathematics" shows that identity types interpreted as paths, and the univalence axiom equating equivalence with identity, ground the synthetic a priori in homotopy-invariant structure, so that mathematical objects are simultaneously constructed through constitutive activity (the phenomenological moment of proof and judgment) and objectively constrained by the geometry of type space (the realist moment of path structure), making the conditions of mathematical thought transcendentally necessary in virtue of the intrinsic homotopical character of identity itself.

Unicorn Press, 1974Smyth-sewn in paper wrappers. Cover montage by Eleanor Antin. Part of Rothenberg's series of ancestral poems (Esther was also the name of his mother), presented here as a performance in verse with photographic accompaniments. Lynn Braswell acted as design consultant. Cast includes: Kathy Acker, Cyrelle Foreman, Leonard Neufeld, and Jerome Rothenberg.

Hardcover, 4.75 x 7 inch, 80 pp The Further Reading Library, New York, 2025  Introduction by Doug Skinner Thomas Wilfred (1889–1968) devoted his life to the creation of a new art form, the art of light, which he termed "Lumia." In the 1920s, Wilfred toured the US and Europe to great acclaim staging colored-light recitals with his Clavilux organ. By the late '20s he had reinvented these large scale performances as self-enclosed light shows for living room entertainment. Wilfred’s aesthetically elegant and interactive Clavilux and Lumia home models were soon found in the collections of important art world figures and in major museums. His work was on view into the '80s at MoMA, where it was seen by many of the artists who came to work with light as their medium in the '60s and '70s. Thomas Wilfred: Clavilux and Lumia Home Models presents a fascinating collection of archival material culled from the Wilfred archive at Yale University and other sources, including never before published sketches by Wilfred and documentation of these strange glowing screens that predated television, video art, and psychedelia.

Softcover, 5x8 inch, 212 pp Punctum Books, August 2026These writings spring from an observation: When migraine arises, the voice fails. It does so on many levels, ranging from a vocal-technical disintegration to migraine-specific symptoms like dysarthria and aphasia, up to the muteness forced upon the sufferer by stigmatization. As a migraine-suffering singer, Mariske Broeckmeyer witnesses and experiences these alterations. Frequently, routinely, and almost faithfully, she retreats to the blackened bedroom when migraine manifests. Lying in silence, she notices how little of her vocal instrument remains intact and how distorted our relations become under these circumstances. Migraine mutes—it occupies the body and leaves muscles, lungs, larynx, and tongue under its command. In the attempt to describe these sufferings, Broeckmeyer has indeed stammered and fallen silent, unable to name the pain. But could it be that this failure holds some sort of potential? What might vocal failure reveal about the nature of the voice? To these questions, Unvoicing Migraine lends an ear. Shuttling between theoretical findings and artistic practice, the book turns to concepts provided by voice theory, disability studies, and queer theory to engage in an artistic research that studies the devocalizing impact of migraine. The book also attempts to redefine the artistic practice of a singer, the author, when her vocal apparatus falters: it questions the singer’s relation to the stage and challenges the boundaries of performance. These aspects of vocality were not merely approached through an autotheoretical discourse, but through the creation of music and sound art that capture the failing voice and amplify it. Ultimately, Unvoicing Migraine looks at what lies beyond migraine, and makes note of its consequences and residues: stains the acid left on the carpet that transform into a woolly eye whose gaze morphs into a mouth that raves in a language we cannot always understand, but which Broeckmeyer transforms into migraine opera.

Softcover, 12x 18cm, 176pp (ill.) Suture Press, 2026  English edition  Poetry and Revolution brings together three previously untranslated essays by the Czechoslovak avant-garde theorist Karel Teige, accompanied by a polemical introduction by Peter Zusi placing Teige's thinking in the context of debates on "Western" and "Eastern" Marxism. Introduction by Peter Zusi.Translated by Greg Evans

Hardcover, 6x9inch, 100pp Seagull Books, 2025Translated by Kevin Attell  An erudite exploration of transgressive language from the Renaissance by one of Europe’s greatest living philosophers.  This book explores how early modern authors broke linguistic boundaries, creating new words and languages that challenged traditional grammar and lexicon, providing historical insight into today’s debates on the politics of language.  Through a scholarly analysis by Giorgio Agamben, the text delves into the boundary-shifting language of the Renaissance, exemplified by giants like Pantagruel and Gargantua, whose outsized bodies mirror the vastness of their speech. The macaronic language invented by Teofilo Folengo, blending Latin and vernacular, embodies a linguistic rebellion that transforms language into a tangible, unruly force. Featuring illustrations from the Songes drolatiques de Pantagruel and Folengo’s Baldo, this volume offers a vivid portrayal of language as a physical, dynamic entity that defies grammatical norms.

Hardcover, 218pp, 18 x 24cm TCU Press, 2001In a ground-breaking survey taken primarily from literary sources, Threading Time reveals the essential link between the human spirit and the art of connecting threads. Whether looking at stories about clothing made in the Garden of Eden, a medieval manuscript, or modern fiction and poetry, the author traces the importance to humankind of a craft that has never ceased since it began at least forty thousand years ago. The author's conception of threadwork throughout is generic, including all kinds of work done with thread, yarn, or fiber.In the author's long-range view, threadwork becomes more than a garment, a rug, or a tapestry on the wall. It is often a bond shared with contemporaries and with ancestors, a link between humans and cultural beliefs, even a tie between humankind and the Divine. This age-old association of interwoven fibers and humanity is found today in a metaphor that is used to convey the concept of shared traditions, values, and beliefs: the fabric of society. A rip in the fabric can be alarming; mending it is necessary to avert instability and even chaos.Threading Time opens with stories from biblical traditions that continue to influence society. Next come portrayals of threadworkers in Greek and Roman myths and those suggested on the famous marble frieze carved on the Parthenon of Athens. The author then turns to Piers Plowman, Chartres Cathedral's windows, the Bayeux Tapestry, and other textile evidence from the medieval era; she suggests how threadwork in those centuries became identified with spiritual faith and belief in miracles.An illustrated French manuscript and the Apocalypse Tapestry highlight a discussion of changes in the lives of cloth workers that occurred during the Renaissance. Works by two Germans—playwright Gerhart Hauptmann and artist Käthe Kollwitz—illustrate labor struggles that persisted for centuries in textile production. Selections of poetry by English poets such as Robert Burns and William Blake provide glimpses of protests made by some against economic forces disrupting the lives of textile workers during the Industrial Revolution.Novels by Nathaniel Hawthorne, Edith Wharton, and D. H. Lawrence suggest that threadwork activity itself may arouse, release, or inhibit strong feelings, even erotic passion, between men and women. These novels also demonstrate that needlework and its products can be used to stigmatize, ostracize, or control an individual. Both fictional and real-life accounts follow in a discussion of works by three nineteenth-century writers—Charles Dickens, Louisa May Alcott, and Mary Boykin Chesnut—who illustrate the power of threadwork during wartime to transform solitary individuals into patriots and lift the morale of civilians who share common beliefs and objectives.

translated by Kato David Hopkins Softcover, 368pp Public Bath Press, Japan, 2019   "This book, the only history of free jazz in Japan, has been reprinted many times in Japan and is finally available to readers overseas in English translation. From its earliest stirrings in the 1960s until it reached international recognition in the 1970s and after, free jazz in Japan is a unique music that has found its perfect scribe. Teruto Soejima was a writer who fell in love with a music and devoted his life to it as promoter, critic, label owner, tour organiser, and much more. "If you like jazz at all, if you like the unique voices of Japan at all, this book will open your ears to many sounds you haven't heard, or heard of, before. "Introduction by Otomo Yoshihide. All new photos in this edition, none used from the original Japanese volume." - Publisher Public Bath "Soejima Teruta was a legend on the scene of jazz and improvised music in Japan ... Much more than a critical observer, Soejima-san was a tireless supporter of music and musicians, and will always be remembered for his brilliant mind and gentle soul."- John Zorn

Brötzmann – In My Focus is a large-format photo book by Slovenian photographer Žiga Koritnik – a tribute to Peter Brötzmann, one of the most influential figures on the international free jazz and improvisation scene. For almost three decades, Koritnik accompanied Brötzmann on stage, backstage, on tour, and in quiet moments. The result is a powerful, intimate portrait that shows the musician not only as an icon, but also as a human being. The images are complemented by texts from Peter Brötzmann, John Corbett, Mats Gustafsson, Bill Laswell, Heather Leigh, Paul Lovens, and Paal Nilssen-Love, as well as poems by Steve Dalachinsky and Joe McPhee—a dense collection of voices, memories, and reflections from the innermost circle. The volume is published by Društvo Pega (Slovenia). At the request of Žiga Koritnik, Wolke distributes this title in German-speaking countries and internationally. An extraordinary document of a musical era—photographically precise, emotionally intimate, and full of resonance for readers, listeners, and collectors.Hardcover, 144pp, photographs Wolke Verlag, 1st edition, November 2024

Hardback, 418pp Greenwood Press, 1998compiled by Ben Young  In this thorough research guide to the career and music of Bill Dixon the author has documented how Dixon refined a sonically unique pan-tonal language of trumpet playing. As a trumpeter, composer, educator, and theoretician, Bill Dixon has politically and musically influenced many phases of the development of Black music in the second half of the 20th century. This authoritative guide details information about the life and music of Bill Dixon. Bill Dixon comments throughout the text on the familiar and unfamiliar aspects of his career as it unfolds between performances and recordings. The recollections of those who have collaborated with Bill Dixon over the years supplement the thorough research here presented on the life and career of Bill Dixon and, additionally, the New York avant garde artistic sphere in which he worked.Bill Dixon has refined a sonically unique pan-tonal language of trumpet playing. As a trumpeter, composer, educator, and theoretician, Bill Dixon has politically and musically influenced many phases of the development of Black music in the second half of the 20th century. This authoritative guide details information about the life and music of Bill Dixon. Bill Dixon comments throughout the text on the familiar and unfamiliar aspects of his career as it unfolds between performances and recordings. The recollections of those who have collaborated with Bill Dixon over the years supplement the thorough research here presented on the life and career of Bill Dixon and subsequently, on the New York avant garde artistic sphere in which he worked.Music and music history scholars, especially those interested in jazz and Black music, will be attracted to the wealth of information provided, often from primary sources, on Bill Dixon and Black music through the 50s, 60s, and 70s. The discography included encompasses issued and non-issued recordings as well as listings for every known Bill Dixon performance. Collaborations with dancers, directors, filmmakers and painters, among others, are also documented.

Hardback, 21 x 28.5 cm, 192pp Omnibus Press, Oct 2026 Poly Styrene was many things: a pop star, a punk, a songwriter, a single mother, a woman of colour, a Hare Krishna convert and an artist, but she is best known as the singer of X-Ray Spex. Dayglo is the definitive statement on Poly Styrene as an artist. Poly Styrene was a singer-songwriter, an artist, a free-thinker, a post-modern style pioneer and a lifelong spiritual seeker: a true punk icon. But this rebel queen with the cheeky grin was also a latter-day pop artist with a wickedly perceptive gift for satirising the world around her - her brightly coloured, playful aesthetic sharply at odds with the stark monochrome style and nihilism of punk. Here, for the first time, the vibrant jigsaw of Poly's inspiring and often moving story has been lovingly pieced together by her daughter, singer-songwriter Celeste Bell, and writer/artist Zoë Howe (author of the acclaimed Typical Girls? The Story Of The Slits, amongst many others). From growing up mixed-race in Brixton in the 1960s, to being at the forefront of the emerging punk scene with X-Ray Spex in the 1970s, to finding faith with the Hare Krishna movement, to balancing single motherhood with a solo music career and often debilitating mental health issues, the book honestly and openly explores Poly's exceptional life, up until her untimely passing in 2011. Based on interviews with those who knew and loved Poly whether personally or through music, this oral history book includes testimonies from Vivienne Westwood, Don Letts, Glen Matlock, Jonathan Ross, Neneh Cherry, The Slits' Tessa Pollitt, Thurston Moore, Jon Savage, and many others. Heavily illustrated throughout including personal photographs, flyers from the punk scene and hand-drawn artwork and lyrics for X-Ray Spex and beyond the book beautifully captures Poly Styrene's creative and personal legacy, reminding us that if anyone had the power to turn our worlds dayglo, it was her.

Pre-order. If you'd like to pick up your copy at the Globe Unity Orchestra residency in November please select 'Collect from cafe' from the 'Shipping' drop down menu at checkout when placing your order.   Softcover, 288pp FMP, November 2026Sixty years ago, Alexander von Schlippenbach received a commission from Rias Berlin to compose a piece for the Berlin Jazz Days (Berliner Jazztage). At the time, Schlippenbach caused a sensation; his composition and his large ensemble, composed of the crème de la crème of the German Free Jazz scene, became famous overnight. The book Globe Unity 60 tells, for the first time, one of the possible stories of this exceptional ensemble, including details about the recordings the Globe Unity Orchestra has released over the past 60 years. In addition, all known liner notes by Alexander von Schlippenbach have been compiled, as well as liner notes and reviews by third parties. For this purpose, both Alexander von Schlippenbach’s archives and those of FMP were utilized, and Gérard Rouy and Cristina Marx generously provided photographic material spanning nearly 60 years. Over the decades, all these texts and memories feature repetitions upon repetitions, transcriptions and rewritings, melodies and counterpoints; the orchestra ceases to exist more than once, only to carry on after all. The visual material is supplemented by two exclusive interviews by Maxi Broecking with Alexander von Schlippenbach and George Lewis, as well as new texts and recollections by Paul Hubweber, John Corbett, Steve Lake, and Mats Gustafsson.

Hardback, 29.5 x 29.5 cm, 208pp Soul Jazz Records, October 2026   This deluxe new large-format hardback book features 100s of striking and beautiful record sleeve designs from Folkways Records, one of the most iconic independent record companies in the world.Ronald Clyne, the primary designer at Folkways Records, was responsible for more than 500 record sleeves on almost every subject imaginable, as well as for numerous artists including Woody Guthrie, John Cage, Lead Belly, Langston Hughes, Pete Seeger, Angela Davis, Mary Lou Williams, Sarah Webster Fabio, Allen Ginsberg and many more, all of whom feature in this book.Folkways Records was founded by Moses Asch in 1948. Encouraged by Albert Einstein to document all the ‘sounds of the world’, the record company released over 2,000 records of folk, jazz, blues, gospel, experimental and electronic music, nature sounds, political speeches, poetry, self-help records and more in its almost 40 year history.Founder Moses Asch died in 1986. The following year Smithsonian Folkways was created after Asch’s family donated the entire catalogue to the Smithsonian Institution in Washington, D.C. Folkways Records is today part of Smithsonian Folkways Recordings, the non-profit record label of the Smithsonian Institution.This book is a celebration and visual history of Folkways Records and the artwork designs of Ronald Clyne.

Softcover, 736pp Wordsworth Editions, 2025Algernon Blackwood (1869 – 1951) – ‘The Ghost Man’ – was a British broadcaster, journalist, traveller, mystic, and paranormal investigator, and, above all, a prolific author of weird, occult, and supernatural fiction. Often, he wrote about the untamed wilderness, from deserts to vast, primeval forests, vividly depicting a natural environment that is at once awe-inspiring, alien and hostile. Many of Blackwood’s most famous tales – such as The Wendigo and ‘The Willows’ (both included in this collection) – are set in the empty places of the world. Like his psychic detective ‘John Silence’, Blackwood was fascinated by elemental spirits, reincarnation, other dimensions, and higher states of consciousness. Wherever such things broke through, he sought them out, and now so can you in this comprehensive collection of his short fiction. As Blackwood explained himself: ‘I believe it possible for our consciousness to change and grow, and that with this change we may become aware of a new universe.’   ‘Of the quality of Mr. Blackwood’s genius there can be no dispute … he is the one absolute and unquestioned master of weird atmosphere.’ – H.P. Lovecraft

Hardback, 320pp, 24 illustrations Reaktion Books, September 2026Discover why a beaver was said to bite off its own testicles, why the baleen of a right whale was prized by medieval knights or why you should give your crush the gift of a great auk.Creatures of Story and Song pieces together evocative legends, poems and historical accounts from a thousand years of history to remember fourteen of Britain’s extinct creatures. More than merely charting their demise, this book explores the rich legacy that such creatures as the eagle, boar and wolf left on our cultural landscape, and sheds light on what it was like to live alongside them. As some, like the beaver, look set for a comeback, Lee Raye’s book offers curious readers charming context on these animals’ ancestors.

Softcover, 232pp Peninsula Press, October 2026Lucy Frost is an insomniac cleaning woman in Paris. She writes in a notebook at night, documenting a series of interwoven disappearances from her adopted city. First, her great-aunt, who vanished in her old age, but in her youth researched the Bièvre River. The Bièvre River itself, buried in 1912, for centuries the core of Paris’s textile industries. And finally the river’s laundresses, among France’s earliest labour and ecological activists, many of them active in the Paris Commune of 1871.   When Lucy receives her great-aunt’s research papers, she picks up this abandoned project and prises the defunct river’s story from the literature that depicted its winding path. Rousseau, Chateaubriand, Hugo, and Rabelais give bearings to her voice. What arises in her nightwriting is a disquieting meditation on age, failure, and maintenance.  Riverwork unearths not just an urban river but also a philosophy of research and the archive, a politics of hydrology, an ontology of ageing and belatedness, and a consideration of the unrepresented labour of women, past and present. Along the way it resurrects, in unforgettable prose, a forgotten Parisian river and the writers and workers it threaded together.

Hardback, 285pp Goldsmiths Press, 2026 The STEIM foundation in Amsterdam was a music studio radically dedicated to the live, physical performance of electronic sound. From 1969 to 2021, the Studio for Electro-Instrumental Music supported artists in building new instruments, insisting on tangible, hands-on engagements with electronic sound.This book provides a comprehensive overview of STEIM’s work, drawing on original interviews and extensive primary source research in the archive of its longtime artistic director, Michel Waisvisz (1949–2008). It traces the studio’s evolution from its roots in the anarchic, situationist spirit of 1960s Amsterdam to the famous Cracklebox and to a long line of pioneering developments in sensor-based instruments between 1984 and 2000.A primary focus is Waisvisz’s landmark instrument The Hands (1984)—the world’s first sensor-based gestural controller—and the SensorLab platform it inspired. This emerging expertise fuelled an international artist-in-residence programme, attracting figures like Jon Rose, Nicolas Collins or Laetitia Sonami among many others and fostering a global wave of experimental instrument design.The common thread through this history is a paradigm called Touch, which championed musicians’ embodied presence over automation and predefined control. By documenting the pursuits of immediacy within highly mediated technologies, The STEIM Touch offers a crucial historical lens for today’s ongoing negotiations between artificiality and physicality in music creation.