¶ Select Spines /
As Editor /
Tenement Press /
Hotel
(tenementpress.com)
Various Collaborations / Occasional works in common.
*
Batool Abu Akleen
Translated from the Arabic by the poet
with Graham Liddell, Wiam El-Tamami,
Cristina Viti & Yasmin Zaher
Tenement Press / Penguin Press
24.09.26 978-1-837315-18-5
(eds.) Dominic J. Jaeckle
& Cristina Viti
Longlisted for the
Warwick Prize for Women
in Translation 2026.
This essential poetry of witness stares into the abyss,
and we must look in the direction it looks.
—Mícheál McCann, The Irish Times
This collection by a brave extraordinarily gifted Palestinian woman, wise beyond her years, is a searing and urgent cry of the heart and conscience; a call to wake the world up to itself. Batool Abu Akleen’s fierce love for her country and people are thunderbolts of compassion and power, and the relevance of poetry is never stronger than in her luminous details of life and struggle. We live within a crisis of humanity, and we need her antidote; a shield against cruelty and silence in the disaster narratives of War. There must be poetry and consciousness after atrocity. You will weep and will weep and weep again. You will want to stop the world.
—Anne Waldman
* *
Varia.
Seven Rooms / Assorted Materials from a Paper Hotel
Tenement Press / Prototype Publishing
19.10.23 978-1-913513-46-7
(eds.) Dominic J. Jaeckle
& Jess Chandler
¶ Hotel was / is an independent magazine and multiform publication project for new approaches to fiction, non-fiction, and poetry. Seven years following the publication of Hotel 1 (2016), and in tribute to the cessation of the ‘paper hotel’ series with the publication of Hotel 7 (2021), Seven Rooms—a collaborative publication from Tenement Press and Prototype Publishing—is a document of the project’s unerring commitment to pioneering creativity, literature’s idiosyncrasies, and shared space.
Read Jaeckle & Chandler’s ‘Forethoughts’
to this edition here.
An anthology publication,
featuring works by ...
Mario Dondero;
Erica Baum;
Jess Cotton;
Rebecca Tamás;
Stephen Watts;
Helen Cammock;
Salvador Espriu;
Lucy Mercer;
Lucy Sante;
Ryūnosuke Akutagawa;
Ryan Choi;
John Yau;
Nicolette Polek;
Chris Petit;
Sascha Macht;
Amanda DeMarco;
Mark Lanegan;
Vala Thorodds;
Richard Scott;
Joshua Cohen;
Hannah Regel;
Nick Cave;
Daisy Lafarge;
Holly Pester;
Matthew Gregory;
Olivier Castel;
Emmanuel Iduma;
Joan Brossa;
Cameron Griffiths;
Imogen Cassels;
Hisham Bustani;
Maia Tabet;
Raúl Guerrero;
Velimir Khlebnikov;
Natasha Randall;
Edwina Attlee;
Matthew Shaw;
Aidan Moffat;
Lesley Harrison;
Oliver Bancroft;
Lauren de Sá Naylor;
Will Eaves;
Sandro Miller;
Jim Hugunin;
Levina van Winden;
Aram Saroyan;
Glykeria Patramani;
Will Oldham;
Antonio Tabucchi;
Yasmine Seale;
Elizabeth Harris;
Nina Mingya Powles;
Isabel Galleymore;
Jason Shulman;
Jeffrey Vallance;
Preti Taneja;
Stanley Schtinter;
Wayne Koestenbaum;
Sophie Seita;
Ralf Webb;
Jonathan Chandler;
Iain Sinclair;
SJ Fowler;
Cass McCombs;
David Grubbs;
Agustín Fernández Mallo;
Pere Joan;
Thomas Bunstead;
Adrian Bridget;
John Divola;
& Gareth Evans.
Literary diversity was always on show in Hotel.
—Michael Caines, The Times Literary Supplement
‘A hotel is defined by its inhabitants,’ runs Hotel’s tagline. If Hotel itself were a concrete edifice, it would be more like Fear and Loathing in Las Vegas’ Circus-Circus than the Grand Budapest, despite its tasteful, clean exterior. Its commitment to ‘new approaches to fiction, non-fiction and poetry’ promises all manner of havoc. It is not the only journal committed to literary innovation, but it is among the best.
—Camille Ralphs, The Times Literary Supplement
Once a magazine, now an anthology, a selection, a condensing, a celebration, a feast, call it what you will, for this volume takes on different forms in the eyes of each reader. Each generation should build their own edifices, whether hotels, factories or pleasure domes, places in which they gather their interests and ideas so that they can hand them forward.
Each editor must have a burning desire to research and draw from precursors and move with contemporaries, find a dialogue, or ideally a community and make it public, a way to share, to offer as a gift the work that one finds valuable and that one would like others to consider. I want to be made aware of that ongoing dialogue. I want something personal from its editor, an intimacy you might call it.
This hotel started as a series of dialogues in seven issues of a magazine. Now it is re-edited to found a new dialogue, drawing from the series to make a fresh whole. Today technology allows us to use it to work with art, illustrations and markings to bind with the texts, helping the volume to gain its own rhythm. For me, there’s added interest in this volume with its global reach, with foreign works to thread through the weave. And further, many of the texts are shaped with referencing other writings, and thus further weaves. And yet, though the fabric shows such diversity and span in its contributions, there is a sense of intimacy overall. This anthology has acquired its own presence. And like any anthology of worth it makes me want to read more, to follow up various writers, people new, people who I’ve known about but who have slipped my net, too many to name, many in fact. This anthology does that, with panache. I love it. And as I re-read, seeking what I intend to follow through, I am listening to John Cale in concert making ‘Heartbreak Hotel’ his own.
—Paul Buck
*
29 Raúl Guerrero
The Story of Maize
26.11.26 978-1-917304-18-4
(eds.) Dominic J. Jaeckle
& Jon Auman
Making paintings, sculptures, prints, drawings, photographs, and videotapes, [Raúl Guerrero] has forged an expansive, ever-evolving vision—one that combines technical innovation with symbolic power. Although his style ranges from early conceptually based abstraction to recent narrative realism, Guerrero’s self-described ‘search for the poetry of life’ is a constant in all of this work. Travelling and reading voraciously, Guerrero continually engages the histories of culture in the United States, Latin America, and Europe, culling images and ideas for his art.
—Toby Kamps
* *
28 Bertolt Brecht
Poems on the Theatre /
The Great Art of Living Together
Translated from the German
by John Berger & Anna Bostock
30.10.26 978-1-917304-19-1
(eds.) Dominic J. Jaeckle
& Gareth Evans
Seven poems, alongside a septet of afterworks,
with contributions from ...
Simon McBurney;
Tom Overton;
Emily Foister;
Mike Dibb;
David & Helen Constantine;
& Anne Michaels.
With a foreword
by Dominic J. Jaeckle;
& an afterword
by Gareth Evans
The book is a joy. Brecht’s inspiring, vivid gem-like ‘poems on the theatre’ sit at the centre; vital, compelling and clear in their sharp translations by John Berger and Anna Bostock. Like they were written yesterday. Or this morning, with wit and with urgency. Surrounding the texts in this edition, a raft of images, introductions and afterwords proves a tool to multiply the texts in new directions, extending and nuancing their reach through reflection and refraction. In their diverse contributions, McBurney, Constantine, Foister, et al, draw lines of deep connection to politics, to poetry itself and to theatre practice. The sense overall is of a book embracing pasts and possible futures, as well as of a volume that leans unashamedly into the dynamic process of the unknown and unfolding present. Berger and Bostock wrote back in 1961 that they had chosen these particular poems ‘because they struck [them] as immediately useful.’ Still true.
—Tim Etchells
* * *
27 Cristina Viti
Valley Wives’ Blues /
An exorcism in 95x12 bars
05.09.26 978-1-917304-14-6
A ‘Blues’ because, like the best blues music, Viti’s line moves across elegy and ecstasy, admirably sustaining that wire-fine dialectical tension between grief and joy without ever feeling the need to choose either one. No empty closure here. No consoling sop. What there is, is tremendous nerve; a kind of fierce authority. Viti’s valley wives are evoked—and invoked—through passages of richly realised lyric, seeming to live as surely in the flesh as they do on the page. This poem strikes me, above all else, as an urgent summons towards compassion, for each other—the o/other—and for life itself.
—Fran Lock
* *
26 Imogen Cassels
Hares on the mountain
26.06.26 978-1-917304-16-0
Cassels is a fencer of a poet, nicking the throat of language while pivoting with adroit feet. Surely, I think, the poems in Hares on the mountain are the lost songs of Wyatt’s diamond-studded hind, or the dreams of cursive font. I gasp when I read them, knowing Cassels has once again shredded breath into meticulous and exquisite evasion.
—Jennifer Soong
*
25 Robin Moger
Old Poems / Collated & translated
05.05.26 978-1-917304-11-5
Old Poems redefines translation as a form of composition and sheer invention. Drawing on early Arabic poetry and its vast tradition of transmission, Robin Moger brings together verse, commentary, biography, and lexicon into a single, shifting textual field. Rather than smoothing differences, these translations preserve—and amplify—the tensions between sources: variant readings, scholarly disputes, and misinterpretations. The book reveals how poems are made not only in their moment of composition but also through centuries of retelling, editing, and debate. What emerges is neither original nor a copy, but a dense, polyphonic work in its own right. Ambitious in scope and formally inventive, Old Poems challenges the boundaries between poetry, scholarship, and translation. A dazzling collection.
—Leo Boix
* *
24 Nadia de Vries
All My Dead Jesters
05.03.26 978-1-917304-13-9
With collage works
by Guy Maddin
With aphorism, deep pith and humour, Nadia de Vries delivers her sly lines and contrarian point of view with great force, making for an uncomfortable music.
—Peter Gizzi
* * *
23 SJ Fowler
BARABUS (Graft II / III)
16.01.26 978-1-917304-08-5
Frenetic and exhilarating outbursts, as eye-witness accounts from a mind's eye of true originality. Harnessing a sublime gift-of-the-gab, Fowler—garbed as a healthcare professional—rushes headlong into a world full of genuine trepidation and make-believe. Convincingly performative and harrowingly memorable with great tracts that remain branded-on-the-brain long after the event.
—Andrew Kötting
* *
22 Sharon Kivland
Envois / The Complete Correspondence /
Love Letters from Jacques Lacan
to Sharon Kivland, 1953-1981
25.10.25 978-1-917304-06-1
The sum of all values in a letter is its meaning. What it means is up for grabs, its grabbiness tied, like the knot, to the love, here, of the woman. But what we know is that the woman does not, cannot, exist. Kivland, here, is this non-existent woman, meaning everywhere, and everywhere drives meaning. The meaning of this book is desire, its way of constricting, dilating, evading, enveloping... The problem with this book is that it is beautiful, which is also the problem of the woman. Still, there is no stopping the encore.
—Vanessa Place
*
21 Friedrich Hölderlin
Der Tod des Empedokles /
The Death of Empedocles
Translated from the German
by R. Martz
Recorded & arranged
by Seth Tillett
30.09.25 978-1-917304-10-8
With an appendix—
Friedrich Hölderlin
The Frankfurt Plan
Translated from the German
by David Farrell Krell
This powerful poem, part bardic chant and part street-corner rant, is delivered with such sustained force, pedal to the metal, that it sounds as if she were practicing circular breathing techniques, like a saxophone player, even on the page. Martz’s mistranslation (term of art) of Hölderlin gets to the heart of the matter: a human who wants to be like the gods but is brutally repressed by them. She sets her action today—meaning Summer 1984, forty-one years ago—when the ongoing dehumanisation of the city was only just beginning.
—Lucy Sante
* *
20 Alix Chauvet
Cyclamen / Poems After Baudelaire
05.09.25 978-1-917304-09-2
Through these creative ‘translations’ of Charles Baudelaire, Alix Chauvet—artist, designer, poet—refuses fidelity in favour of flirtation: her ‘flowers of evil’ line Amsterdam’s canals, drink from the same rainclouds as Rachel Ruysch’s bewitching bouquets, sprout through peat, and are tended by a distinctly feminist and nomadic sensibility. Chauvet—akin to Olive Moore, Sean Bonney and Lisa Robertson—takes the nineteenth-century French decadent as a contemporary accomplice for aesthetic and linguistic misbehaviour. Walter Benjamin once wrote of Baudelaire that he is ‘der geheime Architekt der Moderne,’ and in Chauvet’s hands, those foundations are made porous, unbuilt into cast shadows, into ribbons, into veins streaming across the page. Accompanied by scans of the French poems and Chauvet’s shadow photography, what Cyclamen ultimately offers us is a regenerative rewilding of the English language: a wondrous terrain ringed by vines of unruly syntax and dotted with the fruit of words refusing domestication by any single tongue.
—Mia You
* * *
Translated from the Arabic by the poet
with Graham Liddell, Wiam El-Tamami,
Cristina Viti & Yasmin Zaher
16.06.25 978-1-917304-03-0
(eds.) Dominic J. Jaeckle
& Cristina Viti
Longlisted for the
Warwick Prize for Women
in Translation 2026.
A New Statesman ‘Book of the Year,’ 2025 /
via Jacqueline Rose.
A Palestine Festival of Literature
‘Bookshelf’ selection / Summer 2025.
One of the most viscerally affecting collections of poems I have ever read. Devastatingly precise and unforgettable images emerge from every line. The Arabic and the English sit side by side on the pages of this book but the effect is deeper than language, it meets the reader in the heart. I wept reading this brilliant, natural, gifted young poet and wished her subject was something other than this atrocity visited upon her and her people.
What is happening in Gaza is a genocide not a war, but not since Akhmatova have I read poetry that so potently reckons with the relationship between war and the body. They create a new category of literary grace out of the cataclysm. These are poems of fire and agony, bombing and starvation, but they are also poems of grace, cleverness, tenderness and yearning. A great international poet arrives with this collection, but it is also a landmark work of resistance. No human should have to write their poetry from inside death's dominion, but Batool Abu Akleen has done it, and the result is truly astonishing.
—Max Porter
What is happening in Gaza is a genocide not a war, but not since Akhmatova have I read poetry that so potently reckons with the relationship between war and the body. They create a new category of literary grace out of the cataclysm. These are poems of fire and agony, bombing and starvation, but they are also poems of grace, cleverness, tenderness and yearning. A great international poet arrives with this collection, but it is also a landmark work of resistance. No human should have to write their poetry from inside death's dominion, but Batool Abu Akleen has done it, and the result is truly astonishing.
—Max Porter
Batool Abu Akleen has written the impossible thing—an unbelievably hard portrayal in poems of the daily attack on Gaza while living inside it—and her poems warp and play relentlessly with language in all its rare contrarity, its entire animal ancient, while sharing the inky humour and sweetness of her own new poet’s practice. For me, only Etel Adnan’s Arab Apocalypse can be compared to 48kg in its biting frankness and bravery; her words are coming straight from today.
—Eileen Myles
—Eileen Myles
* *
18 Steven Zultanski
Help
04.04.25 978-1-917304-04-7
Brilliant, willfully obtuse, indeterminate, and excruciatingly voyeuristic, Help re-orchestrates and dissects the everydayness of our feelings, restaging them around spatulas, a glass of water, a group of friends eating breakfast and talking. Zultanski's proscriptive, quasi-improvised script deregulates our offhand affects and turns them into what they were all along: stage props in the mise en scenery of our lived lives.
—Tan Lin
Help is a completely unique and compellingly brilliant work. I was riveted by the strange theatre of discussion, the sociality of speech and the hilarious, macabre themes it naturally leads to. I wish there were more writers like Zultanski, writers playful and secure enough to so simply nudge existence into new terrain.
—Holly Pester
*
17 Milo Thesiger-Meacham
Audible Heat
28.02.25 978-1-917304-05-4
A wonderful bringing together of natural and cultural histories.
—Tom McCarthy
Thesiger-Meacham curates [a] considerable research in an unlaboured way, and expresses it in a cool, detached tone—though opening and closing anecdotes about his own relationship to the subject matter give the whole endeavour a warmly personal frame.
—Lucy Thraves, The Wire
Almost Borgesian in the levity by which it seems effortlessly to embody encyclopaedic multitudes, Audible Heat deploys multiple perspectives to explore its themes. Of course it does: its agent provocateur—the cicada—not only has compound eyes, it also has five optical units. So, while scalar and focus shift are central to Thesiger-Meacham’s project, the author never loses sight of, nor respect for, his galvanising subject.
—Gareth Evans
* *
16 Wadih Saadeh
A Horse at the Door
A chronology of poems selected
& translated by Robin Moger
13.12.24 978-1-917304-02-3
With an afterword
by Youssef Rakha
A Republic of Concsiousness
‘Book of the Month,’ 01.2025.
Reading Wadih Saadeh, in this inspiring translation by Robin Moger, one finds oneself entering the aftershocks of an imagination devastated by war and the deep internal and external exiles that follow such destruction. His poetry, loose and open—attentive and philosophical—lives in the remnants of what is left, of what survives to tell its tales, in both short-form, slightly surreal parables, and longer autobiographic tracings. It speaks of dust, of being dust, of stones talking to stones, of separated limbs and shadows walking their own way, clinging to shapes, of being water, of being rubble, new languages learnt, friendships, and tobacco at the source of a breath. Of travelling without arrival. Of moving without settling. As though one is forever seeking to settle but one doesn’t know how, or into what form. In the end, the poet settles on passing, and finds aliveness in its slightest movements. Like passing one’s hand through one’s hair, as he does it in the closing sequence of his ground-breaking poem from the Lebanese civil war. An extraordinary and painfully timely collection.
—Caroline Bergvall
Memories? Dreams? Thought experiments? A doubt hovers over what we are reading. That was in the distant past, that never was. Wadih Saadeh’s poems are haunted by absence and yet they brim with life, alert as they are to the most elusive disturbances of air. There was no division between us and the earth. Here a chair, a tree, a bird, a ghost has as much subjectivity as any living human. They have desires. They are the poet’s interlocutors. Their existential discussions with him are rehearsals for a world in which the wind may perchance return the leaf to the tree. The poet is not naïve. He knows the impossibility of wholeness, the irreversibility of exile’s traumas. Yet his voice remains playful. It has the supreme authority of tenderness. It embodies an ethics of the passers-by, who crush no one and are crushed by no one. Robin Moger’s supple translation deftly navigates the text’s associative meanderings. Breathless, the reader stands amazed.
—Omar Berrada
* * *
15 Lucy Sante
Six Sermons For Bob Dylan
22.11.24 978-1-917304-01-6
With an afterword
by Greil Marcus
Inspired by sermons recorded in Black churches in the 1920s and 1930s, Sante’s are soul poems for 21st-century uncertainty.
—Randy Kennedy, Ursula / Hauser & Wirth
What the world needs now are these conjured sermons from the always brilliant mind of Lucy Sante. In these rollicking and clarifying exhortations, she urges us to find the good and the God in everyone. We look inward, see how we have faltered, and discover our humanity. What is so refreshing is the call to love all of us: the fallen, the fools, the forgotten.
—Dana Spiotta
* *
14 Chris McCabe
Dreamt by Ghosts / Notes on Dreams,
Coincidence & Weird Culture
31.10.24 978-1-917304-00-9
Radically exciting, this text has Beckett and Shakespeare, and all of Poe’s possibilities. As would Derrida, McCabe’s Dreamt by Ghosts leads you toward more and more… In no way can I sum up how remarkable is this ghostly manuscript, and how delighted and in fact privileged I am to have been able to read it, with all its illuminated pauses and twists.
—Mary Ann Caws
*
13 Giovanbattista Tusa
Terra Cosmica / Traces of Georealism
23.08.24 978-1-7393851-9-4
Giovanbattista Tusa finds the words that won’t fill the disquiet and the terror of the illegible revolt of the elements against our way of production.
The fury of climate deregulation and the ecological crisis have a history and a foreseeable future that we now must become acquainted with. This book is a magnificent tool to help us begin to accomplish the most urgent task of contemporary humankind: the only one that can save us.
—Claire Fontaine
* *
12 Edwina Attlee
A great shaking
01.07.24 978-1-7393851-8-7
This profoundly exciting debut explores the complicated embodiments, politics and emotions of domestic life through the prism of the turning year. Attlee draws subtly luminous images from mundane, ordinary life—I pat her gloves with apricot foam / blow bubbles in the dusk / with liquid from the pound shop—allowing us to see the vivid, electric power of moments to which familiarity usually blinds us. At the same time, she is always aware of the vexed inequalities of family, time, class and gender—joy unfurls from coupledom and a shared bank account / watch out or the big horse trudges on your head. Her writing about childrearing is painfully tender yet radical: they pack him differently at the nursery … am I letting them snuff it out / the little yellow flame. In this beautiful, funny and innovative book, an important new poetic voice has emerged.
—Rebecca Tamás, The Guardian
* * *
11 Mario Benedetti
El cumpleaños de Juan Ángel /
Juan Ángel’s Birthday
Translated from the Spanish
by Adam Feinstein
22.02.24 978-1-7393851-2-5
It’s extremely difficult to find a poem which fulfils the condition of a novel and a lyrical text without betraying both. El cumpleaños de Juan Ángel achieves this feat through experimental verse. It’s an extraordinary river-poem in which, without abandoning the nucleus of poetic art, Benedetti takes the genre of militancy and the pamphlet a step further. As if a true Ovid’s Metamorphoses, or Kafka’s Metamorphosis, the protagonist passes through different stages as revolutionary as they are imbued with a biblical, epic quality. It is so fortunate for all those discerning English-speaking readers that this book is now published.
—Agustín Fernández Mallo
* *
10 Stanley Schtinter
Last Movies / A book of endings
05.11.23 978-1-7393851-1-8
With a foreword /
programme notes
by Erika Balsom;
with an intermission
from Bill Drummond;
& an afterword
by Nicole Brenez
programme notes
by Erika Balsom;
with an intermission
from Bill Drummond;
& an afterword
by Nicole Brenez
All films are haunted, both by the immortal light of the sooner-or-later dead that they curate, and by the filaments of meaning they extrude into unscripted human lives. Last Moviesis an unexpectedly revealing catalogue of final interchanges between imminent ghosts and counterpart electric spectres on the screen’s far side. Profound and riveting, Schtinter’s graveyard perspective offers up a rich and startlingly novel view of cinema, angled through cemetery gates before the closing credits. A remarkable accomplishment.
—Alan Moore
Wade more than a dozen pages into Last Movies and these connections start to reveal themselves like constellations on a cloudless night.
—Ryan Gilbey, The Guardian
Here is the endgame of endgames. A commendably perverse demonstration of how it is possible for something to be assimilated, by way of rumour and manipulated history, without being experienced.
—Iain Sinclair, Sight & Sound
Very strange, and deeply thought-provoking.
—Laura Mulvey
*
09 Dolors Miquel
El guant de plàstic rosa /
The Pink Plastic Glove
Translated from the Catalan
by Peter Bush
21.07.23 978-1-7393851-0-1
With photographs
by Helena Gomà
The Pink Plastic Glove is a supreme act of faith and despair.
—David Keenan
The Pink Plastic Glove has a complex architecture that works as a series of interwoven poems, but can also be read as a novella or even as the script for a theatrical drama. In the latter guise, the influences derive above all from classical Greek theatre, in which tragic destiny can never be spared the heroes or heroines of antiquity allowing their audiences to experience catharsis by dint of the public suffering and punishment they receive from the gods. The main god in The Pink Plastic Glove is Hades, he of the underworld and death, who hovers over and inside every one of the lines that construct Miquel’s narrative; a poetic voice that finds the corpse of a dead man in her sink, the first of many other cadavers to keep appearing.
—Jaume C. Pons Alorda, Nació
* *
08 Reza Baraheni
Lilith / A novella
(Anonymously translated.)
09.06.23 978-1-8380200-9-5
With paintings
by Oliver Bancroft
Baraheni is a literary man, so his revolt took the form of breathing ‘reality and harshness’ into the Persian language, and turning it against his oppressors.
—Kirkus Reviews
* * *
07 Pier Paolo Pasolini
La rabbia / Anger
Translated from the Italian
by Cristina Viti
14.12.22 978-1-8380200-8-8
With a foreword
by Roberto Chiesi;
& an afterword
by John Berger
Pasolini’s poems thrive with passion and outrage. A 20th century Dante, he grieves at inequity, feels disgusted by corruption, and wails against the evil that people do. Pasolini doesn’t render a coming paradise, but contests hate with love, meanness with generosity, and through the reality of his beautiful poems, suggests the possibility of creating a better world.
—Lynne Tillman
Pasolini saw what was coming, and saw the poet’s mission as an excoriation of this world to come, that has now arrived. His tremendous energy was not negative. It came from an abounding love of the world. Picturing himself like a hero from ancient days, he struggled mightily, in and against the powers arrayed against life. What he called neocapitalism already came with its own brands of neofascism. Good comrade that he was, he knew the mark of our enemies, and where to direct his rage. Here we find him in a moment when he thought the good fight might still be won. A book to give us courage.
—McKenzie Wark
La rabbia remains one of Pasolini’s most singular achievements, an all-consuming expression of the restless and relentless fury that defined his work and his thinking. In an age of increasingly one-dimensional political art, this most welcome volume is an urgent reminder of its dizzying possibilities.
—Dennis Lim
‘Today,’ we read in La rabbia, Pasolini’s remarkable set of poems composed in 1962 to accompany his film by that title, ‘only four thousand subscribers have televised moving images in their homes; in a year they will be in the tens of thousands.’ And then the poet corrects the line: ‘No—in their millions. Millions of candidates for the death of the soul.’ Sixty years later, in the age of TikTok and Instagram, those ‘candidates’ may well be in the billions. Indeed, what gives La rabbia its uncanny accuracy is that its vision, however exaggerated and extreme, might well characterise our own moment in history. Not only ‘in my country, my country that’s called Italy’ (Pasolini’s refrain), but all over the world, the ‘noble’ solutions of the late 1940s and ‘50s, with their UN charter, their Marshall Plan, and their call for No More Wars, now seem to have been little more than Band-Aids that left things pretty much as they were. Whether he is dealing with the failed Hungarian Revolution or the Algerian War, or with the ‘new problem [that] breaks out in the world. It is called colour,’ Pasolini sees the real enemy as normality—the normality or qualunquismo that accepts things as they are. In Cristina Viti’s excellent translation, Pasolini’s anger would be devastating, were it not for the proviso that poetry can change consciousness. It is poetry, La rabbia insists, that provides the counterweight to the darkness that surrounds us.
—Marjorie Perloff
* *
06 Kyra Simone
Palace of Rubble
04.10.22 978-1-8380200-7-1
With photographs
by John Divola
Like traditional methods of salting, pickling, drying, and smoking, Palace of Rubble saves transitory substance from expiration. From the stuff we unfold in the morning and throw in the recycling bin at night, Simone coaxes the rhythms of cyclical life, the patterns and variations on patterns that define the sphere of the daily, that baseline on which extraordinary events and crises exert their pressure. The world she constructs is recognisable, textured, gently humorous—but also luminously, piercingly exact, possessed of the strangeness of seeing something for the first or the last time. It has an effect that can feel for the reader like peering into a place that is both familiar and unknown, gazing at this place through the blur and distance implied by the passage of large swathes of time, physical displacement or shifts in ontological perspective.
—Alexandra Kleeman
Majestic flights of fancy spun around ravaged landscapes and savage realities, these are remarkable prose poems for the 21st century.
—Chloe Aridjis
Plunged into this direct, clear and mysterious arrangement of words, I was always left wondering what will happen next. Where will the next sentence take me? I was never disappointed. Simone is able to maintain and shift that propulsive curiosity throughout the book. While dancing with us, each sentence is a journey.
—John Yau
*
05 Jeffrey Vallance
A Voyage to Extremes / Selected Spiritual Works
24.10.22 978-1-8380200-5-7
(eds.) Dominic J. Jaeckle
& Jon Auman
Jeffrey Vallance is one of the world's most original, thought-provoking and entertaining writers on visual culture—his essays are works of art in themselves.
—Ralph Rugoff
To delve into A Voyage to Extremes is to tumble into a world that is stranger, more miraculous and more entangled than we ever imagined. Vallance tugs at the threads of ordinary reality, unraveling the warp and weave that separate fiction from fact, the sacred from the profane, and absurdity from logic. When you emerge, nothing will ever look quite the same.
—Eleanor Heartney
* *
04 SJ Fowler
MUEUM (Graft I / III)
28.06.22 978-1-8380200-6-4
Shortlisted for the
republic of consciousness prize
for small presses
2022 / 2023.
Deeply, beautifully unsettling, and somehow so complete that I have screwed up and rewritten this endorsement seventeen times. As a text, MUEUM seems to eat any potential response to it. Sometimes I called it a mesmerising, bravura meditation on work, power, and subjugation; sometimes I called it the psychopathology of the institution; sometimes I just made sub-animal noises. Initially I just felt awe at how compelling Fowler can make the sheer tedium of labour, in an environment terrifyingly regimented, curious (and intimate, like being let backstage behind existence itself), but this was gradually replaced by an increasing suspense and horror which got its claws into me for the whole last half of the novella. Anyway. It makes me very happy—and also insanely jealous—that works like this are being written.
—Luke Kennard
A remarkable fiction debut.
—The Los Angeles Review of Books
* * *
03 Yasmine Seale & Robin Moger
Agitated Air / Poems After Ibn Arabi
28.02.22 978-1-8380200-4-0
A White Review ‘Book of the Year,’ 2022.
Antiphonal, intimate and virtuoso, these variations respond to the sense that the interpretation of desires can be endless—it can dance this way and that, and then turn and turn again. The exchange of voices, singing lines that meet and part, pick up on the presence of the lover and the beloved in the poems; as Yasmine Seale and Robin Moger pass each newly wrought phrase back and forth between them, the distance between Seale in Istanbul and Moger in Cape Town is bridged, and so are the centuries that separate us from Ibn Arabi, his motifs, his mystical ascents and descents, and his anguished yearning. This is translation as intrepid and inspired re-visioning, a form of poetry of its own, as forged by Edward FitzGerald, Ezra Pound and Anne Carson.
—Marina Warner
* *
02 Stanley Schtinter, et al.
The Liberated Film Club
23.10.21 978-1-8380200-3-3
(eds.) Stanley Schtinter
with Dominic J. Jaeckle
& Jon Auman
A ‘New & Noteworthy’ Book /
The Criterion Collection
An anthology publication,
featuring works by ...
John Akomfrah;
Chloe Aridjis;
Dennis Cooper;
Laura Mulvey;
Chris Petit;
Mania Akbari;
Elena Gorfinkel;
Juliet Jacques;
Ben Rivers;
Dan Fox;
Sean Price Williams;
Adam Christensen;
Stewart Home;
Stephen Watts;
Tony Grisoni;
Gideon Koppel;
Astra Taylor;
Miranda Pennell;
Gareth Evans;
Adam Roberts;
Tai Shani;
Anna Thew;
Xiaolu Guo;
Andrea Luka Zimmerman;
William Fowler;
Athina Tsangari;
John Rogers;
Shama Khanna;
Shezad Dawood;
& Damien Sanville.
I’m a sucker for genre-defying ‘What is it?’ books, and this one is further enhanced as well as complicated by chronicling a London film club that’s no less eccentric and transgressive in its refusal to stand still and behave reasonably or even (on occasion) coherently. This is plainly an anarchist book designed for insiders, and I’m an outsider—or maybe one could say that this is an anarchist book designed for outsiders, and we’re all outsiders interested in redefining what an alleged inside might consist of.
—Jonathan Rosenbaum, Screen Slate
Schtinter runs with wolves. His Liberated Film Club was, throughout its brief, perfect existence, the antidote to contemporary cinephilia. It was impious and sexy, mysterious and unsober, a ululatory free zone for refuseniks, a place of magic and mayonnaise. If you never made it to one of its mad, baffling nights, this book is guaranteed to make your loss all the more deliciously unbearable.
—Sukhdev Sandhu
*
01 Joan Brossa
El saltamartí / The Tumbler
Translated from the Catalan
by Cameron Griffiths
15.04.21 978-1-8380200-1-9
Joan Brossa creates distilled excitement. He is both wise and wild. His poems are surreal and matter-of-fact, playful and minimalist and utterly original. In his ability to make it new, Brossa is an essential modern poet.
—Colm Tóibín
These gloriously acerbic, droll, at times political poems offer minimalist conundrums that refute solution anddissolution. Joan Brossa’s brilliantly oblique juxtapositions, micro-observations, and deadpan takes on the quotidian are enigmatic without being obscure. El saltamartí is proto-conceptual pantomime: ‘The words are here, whether you read them or not. And nothing on earth can change that.’
—Charles Bernstein
*
03 Richard Prins
Brain Flavour / A Lyric History of Swahili Hip-Hop
17.09.26 978-1-917304-15-3
(eds.) Dominic J. Jaeckle
& Benjamin Pickford
A vitalising index of words as they lift and locate in songs, poems, conversations, processes and practices. An open-ended workbook where localised thinking interacts with dialogical learning all rhythmed by stories and alternative meanings. Translation comes alive in these pages.
—Kate Briggs
An original genre-blending book which weaves together memoir, cultural history, and literary translation. Brain Flavour is not only an education but a compelling and poetic voyage spanning the ‘lyric history’ of Swahili-language hip-hop in Tanzania, written with charm and hard-won authority. The book ultimately offers us a unique insight into the tangled intimacies between music, politics, language and translation.
—Anthony Anaxagorou
Who knows hip-hop who only (American) hip-hop knows? Brain Flavour—restless, wired, seeking—deprovincialises the form. Prins zigzags through Dar es Salaam, hangs out with local emcees and crews, chops and screws anthropology, sound studies and translation theory. Every page roils, dramatises the thrill of learning... and unlearning.
—Sukhdev Sandhu
* *
02 Maria Sledmere
Midsummer Song / Hypercritique
30.09.24 978-1-7393851-7-0
(eds.) Benjamin Pickford
& Dominic J. Jaeckle
Midsummer Song intermingles a lodestar of potent poetic sources into a lyric architecture which refuses to be singular in form or bound by convention. This book is plural—at once an elegy for our world—and also—seance and party you won't want to miss. Your tools, dear reader, include countless luminary texts, summer light while it lasts, meadows, cinders, glass, and clairvoyance. Can the poet be everywhere? If nuance is purple and writing is light, this book may convince us that dream space is the necessary elixir to take with us into impermanence, bursting with everything in the world, an ecstatic catalogue and a devastated delirium. Like Christensen's alphabet, this book at once beams and cautions—like a horn of plenty spiraling out from the ear of Athena, a cornucopia of Sledmere's poetic powers. No other poet can make me feel giddy at the end of the world, gorgeous with intimate tears and flight. Descendants of Bernadette Mayer rejoice—now at long last we can dream not only the winter's dark but also in summers blindingly bright. Like when we climb into the red- / threaded spiderweb /of another plague year / and we activate the starlight / stimulus package / in thermotaxis.
—Laynie Browne
*
01 Radical Translation Workshop
An Anarchist Playbook
01.03.24 978-1-7393851-3-2
(eds.) Sanja Perovic;
Rosa Mucignat;
Jacob McGuinn;
& Cristina Viti,
with Dominic J. Jaeckle
& Benjamin Pickford
An Anarchist Playbook is an excavation of future thinking. In its radical mode of communal translation, it recovers equally radical political energies.
—Adam Thirlwell
An Anarchist Playbook is an essential collection of works that were the roots from which all later revolutionary ideas grew. Skillfully translated and beautifully designed, it belongs in every radical’s library.
—Mitch Abidor
These voices from the French Revolution, whether in the form of manifesto, letter, song, or play, ring out for us in the twenty-first century as if they are our contemporaries. And they are! Never did the principle of equality formulated in so many grand constitutions and declarations sound so hollow. Never was it more urgent for the majority to defy the tiny minority that holds power and achieve proper equality for themselves. These remarkable texts in translation speak to the courage, humour and lucidity that is needed. The crowned heads of Europe and the Pope marooned on an island fending for themselves! Just imagine!
—Peter Bush
*
01 Stanley Schtinter & Gareth Evans
Snow, Always Snow / A conversation between
Stanley Schtinter & Gareth Evans on the implications
& associations relative to a film, schneewittchen
31.07.24 978-1-917304-07-8
‘Rather than look, I’d rather hear,’ says Snow White. ‘I’m speechless,’ replies the prince, ‘imageless at such an image.’ ‘Woe unto me that I must hear,’ says Snow White. ‘Woe unto us that I must see,’ replies the prince. In his third-order reenactment of the Grimms’ tale, Schtinter joins Monteiro and Walser in questioning our compulsion to endlessly repeat the same story, forever draw on the same details. In such a state of exhaustion, it might be better not to see or hear anything at all. But the film is not a plain negation, a repudiation of the cinematic culture of the remake, and although it participates in what might appear to be the degradation of its sources, it’s not parody.
Schtinter remakes with careful ambivalence. He finds for us a place between speechlessness and imagelessness, between empty speech, exhausted image, and the new. In Walser’s text, Snow White ultimately accepts the queen and the hunter’s story. ‘Say what you want. I believe you.’ Refusal or affirmation? Snow in a silent winter world.
—Alec Mapes-Frances, The Paris Review
¶ Hotel
(partisanhotel.co.uk)
And if California slides into the ocean
Like the mystics and statistics say it will
I predict this [Hotel] will be standing
Until I pay my bill
—Warren Zevon
The Paper Hotel / An almost-bi-annual run of proverbial paper ‘rooms,’ an anthology series for ‘New approaches to fiction, non-fiction and poetry.’
* * *
See Camille Ralphs on Hotel / ‘Circus-Circus: Dispatches from a Vigorous Vanguard,’ The Times Literary Supplement (October 18, 2018) / Following the publication of Hotel 4 (Spring 2018).
Hotel is an excellent magazine, adventurous and open and well-turned, and I am completely in tune with [its] program. I’ve been studying literary magazines for nearly fifty years, and Hotel reminds me of what I used to seek in the vast heaps of titles at the Gotham Book Mart so long ago.
—Lucy Sante
[Hotel is a part of] the renaissance of UK literary journals.
—Nicholas Royle, The Guardian
* * *
For the Hotel Archive, an online sequence of
works,excerpts & works-in-progress, see here;
archived by the British Library as a part of their
UK Web Archive and the International Internet
Preservation Consortium (IIPC).
* * *
Hotel 7 / Spring 2021
(eds.)
Dominic J. Jaeckle
& Jon Auman
Adrian Bridget
‘Scenes from a Relationship with Images’
Antonio Tabucchi, (tr.) Elizabeth Harris
‘The Heirs are Grateful’
Helena Gomà
‘Casa l’Àvia’
Nadia de Vries, (Six Poems)
‘Come to My Cremation’
‘Dominion Piece’
‘Puppy Season’
‘My Surfaces, My Services’
‘The Emperor’s New Noose’
‘None of My Powers are Secret’
Josef Winkler, (tr.) Adrian Nathan West
‘Only With the Seeds from the Apple’s Core’
Greg Tate
‘Alterd Spaydes, Fables of Harlem
& the Quantum Black Mutation Movement’
Helen Cammock,
[Extracts from] IDLEWILD
Frederic Tuten & Andrzej Žulawski,
[A cut from an unmade film called] THE INVISIBLES
Lily Hackett
‘Bad Animal’
Percival Everett
‘The Last Heat of the Summer’
Alisha Dietzman / (Three Poems)
‘GOSHA RUBCHINSKIY x THE POEM’
‘LOVE POEM BY TRAIN LIGHT’
‘LOVE POEM BY THE LIGHT OF THE DOCUMENTARY
—HOLY GHOST PEOPLE / ARS POETICA’
Joan Brossa, (tr.) Cameron Griffiths / (Six Poems)
‘Retrat literari’ / ‘Literary Portrait’
‘Pastures’ / ‘Pastures’
‘Cal·lígraf’ / ‘Calligraphy’
‘Punts suspensius’ / ‘Ellipses’
‘Buit de poder’ / ‘Vacuum of Power’
Manuela Moser / (Three Poems)
[Clementine & Harriet]
‘Well, I’m not sure, what are you bringing
to the party?’—
‘I manage to leave the art gallery unnoticed’—
‘We thought to call it a collaboration’
Sam Riviere / (Five Pages)
‘Bob’s Jacket’
‘Bono Vox’
‘Bernhard Quotes’
‘Slavoj Žižek’
‘Fuck the Beginning’
Yasmine Seale
‘Six [of 1001] Pages’
Jeffrey Vallance
‘Yahweh to Yahoo‘
Raúl Guerrero / (Nine Pages)
‘I traveled to Spain ...’
‘This is written to you ...’
‘Inglewood, California ...’
‘San Gabriel Etla ...’
‘Rarotonga ...’
‘Look out the window, see the beautiful ...’
‘Desire is the evil ...’
‘To Many / Too many things to do ...’
‘The dream had no end ...’
Mark Lanegan
‘Axiom’
‘Leveraged’
‘To Tibor Otis’
‘In a Volcanic Field’
‘She’
‘Sun in Scorpio’
‘Disproven Theory’
‘Imaginary Ballet’
Rebecca Jagoe,
‘IT IS PROVEN ... / A prescription from
the Physicians of Myddfai’
Adrian Nathan West, ‘In Friesland’
Daniel Pellizari, (tr.) Rahul Bery
‘The world as it is, the living as they are’
Matthew Shaw / (Five Poems)
‘Shell ...’
‘Found ...’
‘Spells ...’
‘Time ...’
‘Medicine’
Sam Buchan-Watts / (Five Poems) /
TABLEAUX
‘Coulisse’
‘Cornice’
‘Conus’
‘Onus’
‘Prompt’
Nathan Salsburg, et al.,
LOMAXIANA; in which SALSBURG goes
digging in the Alan Lomax Archives ...
with Willard Watson;
Bessie Jones;
Big Bill Broonzy;
Texas Gladden;
Margaret Barry;
& Eddie Sanger
Hélène Gaudy, (tr.) Jeffrey Zuckerman
‘An Island / A Fortress’ /
‘On Terezin’
Stephen Watts
‘Light-Space: Diary Entries
for Giuseppe Penone’s Felled Tree’
David Grubbs,
‘Good night the pleasure was ours’
& an epigram
from Lucy Sante.
* *
Hotel 6 / Spring 2020
(eds.)
Dominic J. Jaeckle;
Jon Auman;
& Thomas Chadwick
Glykeria Patramani
‘The Hare’
Imogen Cassels / (Four Poems)
‘Felicity’
‘Two Types of the Same Return’
‘Moss’
‘Sketch for a’
Will Oldham / (Seven Pages)
Diego Fonseca, (tr.) Ellen Jones
‘Noise : Silence’
謝皓光 / Hao Guange Tse
‘This morning I woke up with
a quick laugh like the sun’
Geoffrey Mak
‘Edgelords’
Astrid Alben / (Five Poems)
‘Collateral Damage’
‘The First People’
—For Marlene Dietrich
‘Coping Strategies’
‘Words to Say it’
‘And God Became a Monkey’
—For Hannah Höch
Nathan Dragon
‘Nebraska’
Sarah Boulton / (Three Pages)
Sascha Macht, (tr.) Amanda DeMarco
Five Columns
Hannah Regel / (Four Poems)
‘Making Sausages’
‘Mermaid Outing’
‘Butterfield’
‘Marissa’
Andrew Lampert
‘Twenty-Three & Me’
Emmanuel Iduma
‘Notes on Happiness’
Lotte LS
‘Synapses, Between’
Amanda DeMarco
‘OTHER PEOPLE’
0x0a / Hannes Bajohr & Gregor Weichbrodt
‘THE TRANSLATION’
—Multiple Metamorphoses
A translation of extant translations
of Franz Kafka
Hannah Williams
‘Nacre’
Lauren de Sá Naylor
‘The Splendor & Effluence of the Motorway’
Jen Calleja
‘A QUESTIONNAIRE’
—An excerpt from a work-in-progress
Cass McCombs / (Two Poems)
‘A Public Mural’
‘The Truckdriver & Malverde’
Emmanuelle Pagano, (tr.) Sophie Lewis & Jennifer Higgins
‘The Automatic Tour Guide’
Lauren Elkin
‘Silent B’
Clemens Meyer, (tr.) Katy Derbyshire
‘The Return of the Argonauts’
& an epigram
from Wayne Koestenbaum.
*
Hotel 5 / Summer 2019
(eds.)
Dominic J. Jaeckle;
Jon Auman;
& Thomas Chadwick
Isabel Galleymore / (Two Poems)
‘Spirit Human’
‘Are We There Yet?’
Aidan John Moffat
‘Timeshare’
Georgia Haire / (Two Poems)
‘Washed Up’
‘Dark Meat’
Hélène Frédérick, (tr.) Jacob Siefring
‘Tooth & Nail / A Credit History’
John Divola
‘As Far as I Could Get’
Ralf Webb / (Two Poems)
芥川 龍之介―澄江堂主人 /
Ryūnosuke Akutagawa, (tr.) Ryan C.K. Choi
‘In Karuizawa’ / (Circa 1925)
Carla Maliandi, (tr.) Frances Riddle
‘vreadthecastlesbeautiful’
Jenny Hval, (tr.) Marjam Idriss
‘The Lighthouse’
Noémi Lefebvre, (tr.) Natacha Lasorak & Sophie Lewis
‘Doubts About Debt’
John Holten & Jonathan Monk
‘A Number of Points Randomly Connected’
Rachel Kass
[A poem called] ‘Babi Yar’
Nicolette Polek
‘The Rope Barrier’
Raúl Guerrero
‘Menu of the Future’
Daisy Lafarge / (Two Poems)
‘throttle song’
‘nothingness is the scene of wild activity’
—After Karen Barad
Joshua Cohen
‘[Nine Notes from] A Diary’
Jack Underwood / (Three Poems)
—After Mascha Kaléko
‘Lovesong for Masha’
‘In Mascha’s Room + Melancholy’
‘Last Song Masha’
Stanley Schtinter
‘We Have Come to Let You Out’
—Looking for Brion Gysin
in the Last Museum
Lucy Mercer / (Four Poems)
‘Chirologia’
‘Divination’
‘Demiurge’
‘Zero’
Ariana Reines
[A piece of] Miss St.’s Hieroglyphic Suffering’
P. Adams Sitney
‘The Narrative Voice of Moby Dick’
John Saul
‘[On] Not Being Leonardo da Vinci’
Jeffrey Vallance
‘Holy Shit!’ / [A scatological exchatology]
Sophie Seita
‘The Gracious Ones’
—A philosophical ballet-in-pieces
Agustín Fernández Mallo & Pere Joan, (tr.) Thomas Bunstead
‘That’s It?’
SJ Fowler & Iain Sinclair
‘[After] Animal Drums’
& an epigram
from Sandro Miller.
* *
Hotel 4 / Spring 2018
(eds.)
Dominic J. Jaeckle;
Jon Auman;
John Dunn;
& Thomas Chadwick
Rebecca Tamás
‘St. Joan in Idaho’
John Yau
‘Fortunes, Favorite Sayings
& Assorted Sundries’
Lucy Sante
‘Dear Messiah’
David Kishik
‘Terms of Service’
Scott McClanahan
‘Sarah [No.3]’
Pascal Richmann, (tr.) Amanda DeMarco
‘Smoke of the World’
Jim Hugunin
‘[Two verbal translations of] Famous Photographs’
Nona Fernández, (tr.) Ellen Jones
‘Mapocho’
Richard Scott & Vala Thorrods
‘come’ —After Paul Verlaine
Bill Callahan
‘Thirteen Letters to Emma’
Jason Shulman [& Dominic J. Jaeckle]
‘Bad Science’ [A conversation with the artist]
Oliver Goldstein
‘The Virgil Hunter Love Sequence’
Leah Sophia Dworkin
‘Tuesday at Six?’
Iris Smyles
‘Philip & Penelope in a Variety of Tenses’
Livia Franchini & Serena Braida / [Three (Reactive) Poems]
‘On Complicity’
‘Cha-Cha’
‘Your Mouth’
Daniele Pantano
‘Twilight of the Poet’
Veronica Scott Esposito
‘Rothko Chapel’
Hisham Bustani, (tr.) Maia Tabet
‘Quantum Leap’
Carol Mavor
‘Like Water in Water’
Mark Kozelek
‘Yellow Kitchen’
David Lowery
‘A Housewarming Party’
Joanna Rafael Goldberg
‘Moonlet’
& an epigram by Britain’s
most isolated cartoonist,
Jonathan Chandler
* * *
Hotel 3 / Summer 2017
(eds.)
Dominic J. Jaeckle;
Jon Auman;
John Dunn;
& Thomas Chadwick
Martin Jackson
‘It’s really very easy to do these days’
Nick Cave
‘Four Cities / [The Sick-Bag Song]’
Duncan White
‘After the Crash’
Juliet Escoria
‘West Virginia to New York’
Jasmine Parker
‘Mass-Produced Poetry’
Hanya Yanagihara [& Holly Brown /
A conversation with the author]
Kim Sherwood
‘Travelling in Grey Space’
Gordon Lish / (Four Stories)
‘Didn’t We Just Hear Something Human Fall?’
‘Joke-Time, or that Other Word, Jape’
‘Make Night: Heidegger’
‘Bamford or Bust!’
Rowan Evans / (Four Poems)
‘Ithaca’
‘Seventy Two’
‘Tourist Song’
‘Hyrule Theory’
Owen Booth
‘The War’
Frederic Tuten & José Antonio Suárez Londoño
‘July’
Imogen Reid
‘Waiting Rooms’
Pierre Senges, (tr.) Jacob Siefring
‘[Selections from] Études de Silhouettes’
Mark Kozelek
‘Common as Light and Love ...’
Jack Robinson
‘Eternal City’
Aram Saroyan
‘Initiator’
& an epigram
by Olivier Castell
* *
Hotel 2 / Summer 2017
(eds.)
Dominic J. Jaeckle;
Jon Auman;
John Dunn;
& Thomas Chadwick
Holly Pester
‘This big bit cradle’
Wayne Koestenbaum
‘#2 [elegant toplessness stoned in stairwell]’
Mary Margaret Rinebold
‘Beige’
Linh Dinh
‘No Soup For You’
Ingo Niermann
‘The Kapellmeister’
Thom Andersenn, ‘Statements’
Julia Drescher [Collages]
Victoria Manifold
‘Asleep’
SJ Fowler / (Three Poems)
‘Truncatus Tractatus’
‘Fancy Thought
‘I Called Ciara Allen’s Swamp Monkey for Years’
Alice Butler
‘A Love Letter to a Klepto’
Will Eaves
‘The Class of All Unthinkable Things’
Nicole Mauro
‘[From] SUPERZER0IC’
Amanda DeMarco
‘Minor Episodes’
& an epigram
from Joshua T. Howell
*
Hotel 1 / Summer 2016
(eds.)
Dominic J. Jaeckle;
John Dunn;
& Thomas Chadwick
Will Eaves
‘Greenery’
Jon Auman
[Two Introductions]
‘The General /
‘Chungking Express’
Duncan White
‘Pink Ice-cream’
Tyler Malone
‘Sometimes He Left Messages in the Street’
Jane Yeh
‘Ninjas’
Erica Baum
‘An Accumulation of Information ...’
Matthew Gregory
‘Rooms’
Eley Williams
‘The Alphabet’
Jess Cotton
‘Notes on the Pink Hotel’
& an epigram
from Mat Riviere
*