edited by Laura Kuhn Softcover, 648pp Wesleyan University Press, 2022    This selection of over five hundred letters gives us the life of John Cage with all the intelligence, wit, and inventiveness that made him such an important and groundbreaking composer and performer. The missives range from lengthy reports of his early trips to Europe in the 1930s through his years with the dancer Merce Cunningham, and shed new light on his growing eminence as an iconic performance artist of the American avant-garde. Cage's joie de vivre resounds in these letters—fully annotated throughout—in every phase of his career, and includes correspondence with Peter Yates, David Tudor, and Pierre Boulez, among others. Above all, they reveal his passionate interest in people, ideas, and the arts. The voice is one we recognize from his writings: singular, profound, irreverent, and funny. Not only will readers take pleasure in Cage's correspondence with and commentary about the people and events of a momentous and transformative time in the arts, they will also share in his meditations on the very nature of art. A deep pleasure to read, this volume presents an extraordinary portrait of a complex, brilliant man who challenged and changed the artistic currents of the twentieth century.

Softcover, 66pp The End Books, 2026The second outing for our short run book publishing imprint, The End books, takes the form of a reprint of Spanish Cante Jondo and Its Origin in Sindhi Music, originally published in Spanish in 1955 under the name Cante Jondo: Su Origen y Evolución and later in this English translation.Aziz Balouch presents his theory on the roots of flamenco's 'deep song' in modern-day Pakistan, a cultural journey that mimics the routes of his own life, having been brought up among the Islamic mysticism and devotional songs of Sindh before travelling to Gibraltar in the early 1930s and becoming transfixed with the cante jondo across the border in southern Spain. Positing this concept through personal accounts rather than solid theoretical backing, this text provides a valuable account of an extraordinary existence that crossed remarkable geographical, musical, and spiritual lines. Issued here with a new introduction from anthropologist of sound, the senses and Islam, Stefan Williamson Fa."It would be easy to place Balouch on the fringes, as an eccentric footnote in flamenco history. But that misses the shape of his life and work. He was a figure who moved intuitively across boundaries that our present categories of nation, genre, discipline tend to fix in place. His work predates the founding of the academic discipline of ethnomusicology, the global circuits of world music, and the marketplace logic of fusion projects by decades. He was not an ethnographer or a proto–world musician, but someone for whom the deep song of Andalusia and the devotional song of the subcontinent resonated along the same fault lines of feeling, and who spent his life trying to trace them.This book is one of the few surviving traces of that attempt. To read it now is to encounter a perspective that resists tidy narratives of influence or origin, despite its title and what he claims to do. It stands instead as evidence of an idiosyncratic musical imagination, one that relied less on proof than on listening, and on the belief that certain echoes carry farther than history can easily explain."

Softcover, 97pp Monitor Books, 2026  In 1990, a girl moves to the USA. She goes to school, learns English, becomes an American citizen, and aspires to become a writer. But what is she to make of the extravagance, bombast, and damage she encounters in the new country’s language and customs? And what about the shrink-wrapped hunks of frozen meat, hurricanes, and the cat-eye marbles scattered on the road? Hugely pleasurable, in turns funny and dolorous, Talk a Blue Streak examines how the act of writing declares a selfhood, but one that is always performative, looped, and curlicued.

Soft cover, staplebound, 48pp Rosie's Disobedient Press, Edition of 100, 2025Originally published in 2023 by Spiral Editions, Saint Of The Abyss brings together 12 poems by Cedar Sigo which move the reader through shifting forms and energy; some written with and for other poets and friends, capturing different moments of becoming onto page.    Cedar Sigo is a poet and member of the Suquamish Nation. He studied at The Jack Kerouac School of Disembodied Poetics at the Naropa Institute. He is the author of endless books and pamphlets of poetry, including All this TIme (Wave Books, 2021), Stranger in Town (City Lights, 2010), Expensive Magic (House Press, 2008), two editions of Selected Writings (Ugly Duckling Presse, 2003 and 2005) and most recently Siren of Atlantis (Wave Books, 2025). In 2022 he received a grants to artist’s award from The Foundation for Contemporary Arts. He has taught all over the country including The University of Washington, Bard College, Washington University, Naropa University and The Institute of American Indian Arts. He lives in Lofall, Washington.

Softcover, 95pp Tenement Press, August 2026A three-part collection of songs recalled and misremembered; of singingor / as stilled life.   ‘Hares on the Mountain’ [Roud Folk Song Index. 329] is a ballad of the emotional imagination; a classic of the ‘floating verse’ tradition that, initially logged as an Irish air by George Petrie as a melody alone (‘I neglected at the time to write [the song] down, and I have never since met with any one by whom it was remembered,’ 1902), is variously known as ‘Blackbirds and Thrushes,’ ‘Creeping and Crawling’ or ‘A Knife in the Window,’ amongst other variations.*        The song parses a wound through a lens of creaturely re-visioning, in all its variants and mutations, to cocktail desire and threat—tenderness and fury—memory and change, and portray the inevitably lossy qualities of the felt. It tracks an effort to cloak a wound in image and in simile amidst the vines of vocabulary, consider avenues taken / untaken, and the scope and shape of an afterthought in the present tense. An observational suite of airs obsessed with the act of looking and watching as a transformative play, Cassels’ Hares on the mountain examines the dealer’s hand to portray the habitually wounded. These poems are an active ‘watching’ of the wounded as she goes out and sets her stall for wounding in kind; and an effort to convey what she finds—or subsequently forges—in her finding.         Across three discrete chapters that aim their gun at affection as though a false phoenix—in ‘Kerosene,’ the first section of this volume—we’ve verses that commit to setting something on fire only to watch it burn down. ‘Cadences,’ the latter set of poems, are involved with sifting through consequent ashes, hunting for bone-fragments and other recollections purified through heat. In ‘Trance states,’ an interlude between the two, one longer poem re-traces the steps of a recurrent and hopeful summer.        In a merger of tenses—of foresight, hindsight, and presentism—Hares on the mountain mimics the want and will of a song to walk, stroll, and wander—to drift in a leisurely and aimless way between contexts, whilst remembering and/or misremembering something of its true self as it travels—to observe the tidal drift of change engendered by climates and elements and objects in a landscape of good / bad emotions until the season is over, and the subject repairs itself to a new winter.    Imogen Cassels is the author of Silk Work (Prototype, 2025) and the pamphlets Peach machine (The Last Books, 2025), Chesapeake (Distance No Object, 2021), VOSS (Legitimate Snack / Broken Sleep, 2020), Arcades (Sad Press, 2018) and Mother, beautiful things (Face Press, 2017). She lives in London.

With poems & linesof verse by ... Salah Abdel SabbourPerejaumeDhul RummaAbu Ja‘far Ibn al-AbbarAl-Nabigha al-DhubyaniAl-Khansa Bint ‘Amr Ibn al-SharidKhaffaf Ibn NadbahGolan HajiLuqman Ibn ‘AadAbu al-Walid al-HimyariAbu Bakr Ibn al-QutiyyahMohammad Ibn Mas‘oud al-Bajjani & other texts liftedfrom books by ... Ibn KhallikanR. BlachèreKhaireddin al-ZirikliAbu al-Faraj al-IsfahaniJ.E. MontgomeryAbu al-Walid al-Himyari   Abdallah al-TayyibIrfan ShahîdDiogenes Laertiusal-A‘lam al-ShantamariTaha HusseinIbn Manzoural-Ma‘arrial-Sheikh al-SadouqIbn al-NadeemIbn Qutayba‘Abdel ‘Aziz ‘AteeqMohammad Abu al-FadlSheikh Mustafa al-GhalayiniWahb Ibn MunabbihIbn HishamIbn Bassaam al-ShantariniIbn ‘Umaira al-DhabbiIbn al-Abbar al-Qudaa‘iIbn Sa‘eed al-Maghribi   Robin Moger is a translator of Arabic to English who lives in L’Hospitalet de Llobregat. His translations of prose and poetry have appeared widely. Among his recent publications are Sleep Phase by Mohamed Kheir (Two Lines Press, 2025), Wadih Saadeh’s A Horse at the Door (Tenement Press, 2024), Strangers in Light Coats (Seagull Press, 2023)—a collection of the poems of Palestinian poet Ghassan Zaqtan—and Traces of Enayat by Iman Mersal (And Other Stories Press, 2023), which was a joint winner of the 2024 James Tait Black Prize for Biography.Collated and translated by Robin Moger  Softcover, 116pp Tenement Press, August 2026

Softcover, 284pp University of California Press, 2011 In Experimental Otherwise, Benjamin Piekut takes the reader into the heart of what we mean by “experimental” in avant-garde music. Focusing on one place and time—New York City, 1964—Piekut examines five disparate events: the New York Philharmonic’s disastrous performance of John Cage’s Atlas Eclipticalis; Henry Flynt’s demonstrations against the downtown avant-garde; Charlotte Moorman’s Avant Garde Festival; the founding of the Jazz Composers Guild; and the emergence of Iggy Pop. Drawing together a colorful array of personalities, Piekut argues that each of these examples points to a failure and marks a limit or boundary of canonical experimentalism. What emerges from these marginal moments is an accurate picture of the avant-garde, not as a style or genre, but as a network defined by disagreements, struggles, and exclusions.

Softcover, 187pp Worms Magazine, July 2026In the three previous issues of Worms, we have plumbed the depths of the mind, unravelled the mysteries of the heart, and traversed the vast expanses of the soul. For this next instalment, Worms 12, we have sought to get back to our roots, to burrow our heads and tails into the soil from which we came. The central tenet of our fertilising mission has always been to champion the best and most experimental writing we can sink our teeth into, to challenge the exclusivity of traditional publishing, and to bring what’s lurking underground to the literary topsoil. We revel in writing that corrupts form, defies genre, and subverts style; work that deals in the uncomfortable, the uncertain, and the untoward. We ask: what can literary form reveal to us about ourselves, our heroes, the global landscape. We don’t need to remind you of the turmoil of our current moment. The frequency and escalating depravity of the bad news that reaches us through the black squares in our pockets says it all. Instead we return to writing to excavate its radical potential; writing as protest, as remedy, as subterfuge, as escape.   While we cast our net far and wide, in putting this issue together a constellation of themes and ideas naturally emerged. From the complexities of history, legacy, and lineage, to the persistence of ghosts, grief, and memory; from the trappings of masculinity to the transformations of parenthood, pregnancy, and birth; from acts of community-building to queer kinship, messiness, and desire.   Contributors:  Eve Esfandiari-Denney, Madame Nielsen, Gaye Kynoch, Izabella Scott, Maxy Lury, Lou Ferrand, Tadhg Haran, Chariot Wish, Donna Marcus Duke, R.Z Baschir, Charlotte Pelissier, Anju M Kasturiraj, Vic Brooks, Saffron Morter-Laing, Dove Ginsburg.

Saddle-stiched, 45pp Monitor Books, 2025BLACKFRIARS BRIDGE, 1905. A Black Cherokee man is arrested and charged as a ‘wandering lunatic’. In the City of London asylum, he is photographed; looking directly at the camera, he insists and refuses. He dies in the asylum one year later. In the absence of Paul Downing’s own account, Remi Graves writes from and into the trans archive, presenting a sequence of poems and experiments mapping resonances between selves across historical records. Through river crossings and library passes, chance meetings and visitations, coal is a document that interrogates what we do with the scattered fragments of a life.

Softcover, 94pp Prototype, August 2026The collection orchestrates a mythic and historical collision between three formidable figures – the South African poet Ingrid Jonker, the mythical witch Medea, and a provocative poetic ‘I’ (evoking the trope of the ‘scorned woman’) – to interrogate the male gaze and the transformative potential of female rage. Vegter’s poems tease language to its limit, with a restless energy that is dynamic, vicious and vulgar, infused with humour and absurdist overtones, brought to life through Astrid Alben's virtuosic translation. Pig Data fearlessly rebuffs the comforts of traditional form, revelling in contradictions, moving between a luminous tenderness and vulgar, incoherent urgency.

Paperback, 240 pp Renard Press, 2022  'You see that Anna led an arduous and troubled life... Her face was worn, her cheeks were thin, her mouth drawn and firm, and her light blue eyes were very bright. Sometimes they were full of lightning and sometimes full of humour, but they were always sharp and clear.' Under the grey, industrial skies of Bridgepoint (modelled on Baltimore), three women - Anna, Melanctha and Lena - live, work and love. Painting a powerful portrait of women trapped in drudgery, Stein's Three Lives is a ground-breaking portrayal of abuse and non-heteronormative sexuality, and is a searing indictment of the struggles of the working class in turn-of-the-century America. An astonishing work that toys with style and conventions, Three Lives stands as a monument in Modernism and experimental literature, and comes from the pen of a writer whose intelligence and understanding bleeds from every page.

Softcover, 240pp Faber, 2025Harryboy Boas is a lowlife gambler. When he’s not at the track, he lives in a Hackney boarding house, reading Zola, eating salt beef, pressing trousers and repressing wartime memories. But when a new family moves into the apartment downstairs, his life starts to unravel and Harryboy soon finds himself sinking into a murky East End underworld where violence, guilt and gangsters are the inevitable result for those who cannot pay their dues. A celebrated cult classic, The Lowlife brilliantly evokes post-war East London – dog tracks, sandwich shops, tenements, sex workers, newly arrived West Indians and Jews leaving for Finchley – all seen through the tragicomic eyes of Harryboy, our picaresque rogue hero suffering from ‘existential burn-out in the shadow of the Holocaust’ (Iain Sinclair) and driven to bet, brag and beg to survive.

Softcover, 212pp (50 images) Heartworm, 2023 (2nd edition)Genesis P-Orridge, the mind and voice behind Psychic TV, Throbbing Gristle and COUM Transmissions, began their artistic journey in the 1960's writing poetry. Heartworm Press is proud to present hundreds of never before seen or published poems by this legendary, influential original. This collection introduces Genesis as a thoughtful innovator and irreverent provocateur with over two decades of poetry, from beat to concrete, and shows the progression of the self, beginning the book under the given name of Neil Megson and eventually growing into the enigmatic Genesis P-Orridge.

Paperback, 8 x 9 inches, 488 ppPrimary Information, 2nd edition, April 2026Women in Concrete Poetry: 1959–1979 is an expansive anthology focused on concrete poetry written by women in the groundbreaking movement’s early history. It features fifty writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre. Women in Concrete Poetry: 1959–1979 takes as its point of departure Materializzazione del linguaggio—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Through this exhibition and others she curated, Bentivoglio traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax. The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive serial works that are overtly feminist and often trouble legibility. Women in Concrete Poetry: 1959–1979 revisits the figures in Bentivoglio’s orbit and includes works by women practicing in other milieus in the United States, Eastern Europe, and South America who were similarly concerned with activating the visual and sonic properties of language and experimenting with poetry’s spatial syntax. Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Susan Howe, Liliane Lijn, Mary Ellen Solt, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia.

Softcover, 170 x 240 mm, 128 pp. We Jazz, August 2026   We Jazz Magazine, Issue 19/ Summer 2026 Miles Davis by Alex Coles, Phil Freeman, Tony Higgins, Ashley Kahn, Tadayuki Naitoh & Anton Spice, Spiritual Jazz by Pierre Crépon & Francis Gooding, Kadi Vija by Wif Stenger, Jonah Parzen-Johnson by Giulio Pecci, Emma Rawicz by Rob Garratt, Courtney Pine by Gareth Allen, Discaholic column by Mats Gustafsson, album reviews, live review & more.

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.