Softcover, 256pp Silver Press, London, April 2025   "The very short stories in Airless Spacesmasterfully depict all kinds of minor atrocities that eventually lead to each person’s downfall: a forced shower, a snub, a slow-moving bureaucracy, a repurposed lounge." - Chris Kraus  Shulamith Firestone’s visionary first book The Dialectic of Sex dared to look at how feminism could shape the future. Finding herself drifting into a new ‘airless space’ after her experience of New York City radical feminist groups, Firestone wrote her first work of fiction.  Airless Spaces portrays the psychic suffering, bureaucratized poverty and small crises of everyday life. In a series of vignettes about institutions and identity, Airless Spaces follows characters in psychiatric wards and out in the streets of New York City to move beyond the spectacular and frightening surfaces of institutional spaces to record acts of cruelty and kindness. With an accompanying Reader featuring contributions by Laya Seghi, Lourdes Cintron, Susan Faludi, Chris Kraus, Lola Olufemi and Hannah Proctor.

Optically Suspicious is a publication by Matrijaršija on the life, work, and cultural and artistic activities of the Union of Graphic and Typographic Workers of Yugoslavia. The book is the result of research in the Union’s archives in the Printed Material Collection of the Museum of Yugoslavia in Belgrade. Matrijaršija reconstructs the forgotten history of the leftist graphic and typographic workers by studying the Union’s posters and leaflets, which bear witness to their rich artistic and cultural programme realised between 1920 and 1941. The book offers engaging theoretical discussions on the importance of cultural and artistic (self-)organisation and the significance of solidarity among workers in the printing industry. The members of the Matrijaršija collective bring this history to life in a series of collages, visual poems, plays, and short stories. Optically Suspicious is the first volume in the ‘tehnika’ series, which focuses on the technical aspects of radical publishing practices. The volumes in the series will discuss the ways in which radical and independent publishing practices introduce entirely new forms of printing, typography, design, distribution and content. Edited by Rab-Rab Press, Matrijaršija and Baraba, the aim of the series is to deal with the actuality of the fluid form of revolutionary printing “techniques” and to develop and connect them with contemporary publishing practices. Conceived, designed and printed by Matrijaršija, Optically Suspicious is entirely manufactured with risporint and is the expanded edition and translation of the first Serbo-Croatian version published in 2022 in collaboration with the Museum of Yugoslavia.  Founded in 2014 in Belgrade, the autonomous cultural centre Matrijaršija is a collective focused on printmaking and independent publishing. With over a decade of experience in screen printing and five years in risograph printing, it promotes experimental techniques and practices, as well as alternative forms of artistic organisation.Hardcover, Pocket-sized  Rab-Rab, Belgrade, May 2025

Wanting Something Completely Different discusses a range of political figures, themes, directors and writers in a series of brief, evocative descriptions (‘vignettes’) aimed at laying out a vision of a modern, cosmopolitan left that can think creatively about the world we live in. The political figures include both thinkers and activists from a wide range of backgrounds — from Frantz Fanon and the Palestinian novelist Ghassan Kanafani to the theologian Dietrich Bonhoeffer and the murdered Russian journalist Anna Politkovskaya. The themes range equally widely from the death of Walter Benjamin (reconstructed here from a remarkable documentary on the same theme) and the slaying of Pasolini to the work of British Marxist Perry Anderson, or the corrupt nature of India’s leading corporate groups, or the outstanding contributions of Italian and U.S. Black feminists to feminist theory. And under the rubrics which discuss film and literature, there is the same striving for diversity and depth. Jairus Banaji is a historian who received the Isaac and Tamara Deutscher Memorial Prize in 2011. His academic work has ranged widely across sources and languages, with major books on Late Antiquity and (most recently) commercial capitalism as well as numerous papers and articles. The vignettes collected in this Rab-Rab book reflect the same dazzling versatility and passion for ideas. They were first circulated on Facebook over some seven years or more and are reproduced here with a new introduction and extensive bibliographical references and notes. Designed by Ott Kagovere, the book is printed in 500 copies and can be ordered either directly from our website or through our distributors. Wanting Something Completely Difrerent - 111 Vignettes of Left-Wing Figures, Themes, Films & Writers Softcover, A4 Rab-Rab, 2nd edition, Summer 2025

Softcover, 11 x 16 Rab-Rab, October 2025Lostlingual by Dinara Rasuleva is the first volume of the sdvig series, dedicated to translingual avant-garde writing. In this volume, Rasuleva, a Berlin-based poet, returns to Tatar, the language of her childhood. She had used it only rarely as an adult, and never before as a creative writer—the national language of her people, smothered by Russian colonialism. She sets herself the goal of composing poetry in Tatar as she remembers it, without consulting dictionaries and grammars. The result is a collection of fragile and liberatory translingual poems, in which Tatar, English, German, and Russian call out, respond to, and transform one another.  Sdvig: translingual avant-gardes is edited by poet and translator Eugene Ostashevsky. Sdvig,a term used by the historical avant-garde in the late Russian Empire and the early Soviet Union to describe distortion and fracture of communication norms,derives from the verb sdvinut’: to cause something to move, usually from one place to another. On the verbal plane, the most common variety of sdvig is the pun, which estranges language by foregrounding materiality, obfuscating reference, and multiplying meanings. We are calling our series of translingual avant-garde writing sdvig, because translingualism, originating in the displacement of the body, ends up violating linguistic borders and adulterates “the language of the tribe”, which poetry once set out to “purify”. We are also calling our series sdvig, because, by questioning and estranging communication—especially interlingual and intercultural communication—translingualism at once illuminates and sabotages translation, ultimately turning it into a variety of wordplay. With Rasuleva’s introduction and Ostashevsky’s afterword, Lostlingual also explores the social and conceptual perspectives of translingual poetry. The sdvig series is designed by Bardhi Haliti.

Publisher ‏ : ‎BoD (1 Sept. 2006)Language ‏ : ‎EnglishHardcover ‏ : ‎544 pagesISBN-10 ‏ : ‎3833426594ISBN-13 ‏ : ‎978-3833426599Dimensions ‏ : ‎22.9 x 3.49 x 15.2 cmA talented pianist and composer in his own right, Sun Ra (1914 - 1993) founded and conducted one of jazz's last great big bands from the 1950s until he left planet Earth. Few only know that he also was a gifted thinker and poet. Sun Ra's poetry leaves everything behind what's called contemporary, and flings out pictures of infinity into the outer space. These poems are for tomorrow. This is the only edition of Sun Ra's complete poetry and prose in one volume. The Contributors James L. Wolf Earned a music degree from Carleton College, and studied ethnomusicology at the University of Washington, Seattle. Now works at the Library of Congress in the Music Division. Active musician in various bands in the DC area. Many contributions to Sun Ra scholarship. Hartmut Geerken Oriental studies, philosophy and comparative religion at the universities of Tübingen and Istanbul. Writer, filmmaker, musician, composer. Since the 1970s, close relationships to Sun Ra and his works, setting up the world's most comprehensive Waitawhile Sun Ra Archive Sigrid Hauff Studied oriental languages and arts, philosophy, and romance studies at the universities of Tübingen and Istanbul. Free lance writer on literary and philosophical subjects. Klaus Detlef Thiel Studied philosophy and history at Trier University, Ph.D. Philosophical author, focussing on theory and history of writing. Brent Hayes Edwards Teaches in the English Department at Rutgers University, New Brunswick, NJ. Author and Co-Editor of works on jazz and literature.

Ursula K. Le Guin began writing as a poet, before writing across genres for her entire life. This elegiac collection of poems, completed shortly before her death in 2018, reflects on the soul, mortality and the mysteries beyond. Weaving together rich sounds, echoes of myth and her vivid sense of our place in the natural world, So Far So Good walks between the knowable and the unknown with characteristic daring.Softcover, 112pp Silver Press, London, September 2025

In 1953, the Swiss mystic, healer, and artist Emma Kunz conducted an experiment on calendula flowers growing in her medicinal garden. With the aid of a pendulum she applied a process she termed “polarization” whereby the form of the flowers were altered in order to produce additional blooms following a numerical sequence. This publication explores Kunz’s practice and intentions, the process of polarization, number symbolism, and the contextual implications of the era. An appendix provides a summary of historical and medicinal uses of the calendula flower.Staplebound, 13 x 15cm Hildegard Press, Canada 2023

A rich and revealing examination of the legendary pop duo Soft Cell.  Signed by the author. Soft Cell are not your average pop band. Marc Almond and Dave Ball may be best known for the string of hits they released in 1981, but the powerful first phase of their collaboration embraced a staggering array of sounds, influences and innovations that would change the face of music to come. In Bedsit land, Patrick Clarke plunges into the archives and interviews more than sixty contributors, including the band members themselves, to follow Soft Cell through the many strange and sprawling worlds that shaped their extraordinary career. They lead him from the faded camp glamour of the British seaside to the dizzying thrills of the New York club scene. From transgressive student performance art to the sleaze and squalor of pre-gentrified Soho. From the glitz of British showbiz to the drug-addled chaos of post-Franco Spain.Softcover, 245pp Manchester University Press, 2024

Publisher :Beacon Press (13 April 2021)Language :EnglishPaperback EditionISBN-10 :0807002895ISBN-13 :978-0807002896Dimensions :14.4 x 2.06 x 22.07 cmOdetta channeled her anger and despair into some of the most powerful folk music the world has ever heard. Through her lyrics and iconic persona, Odetta made lasting political, social, and cultural change. A leader of the 1960s folk revival, Odetta is one of the most important singers of the last hundred years. Her music has influenced a huge number of artists over many decades, including Bob Dylan, Janis Joplin, the Kinks, Jewel, and, more recently, Rhiannon Giddens and Miley Cyrus. But Odetta's importance extends far beyond music. Journalist Ian Zack follows Odetta from her beginnings in deeply segregated Birmingham, Alabama, to stardom in San Francisco and New York. Odetta used her fame to bring attention to the civil rights movement, working alongside Joan Baez, Harry Belafonte, and other artists. Her opera-trained voice echoed at the 1963 March on Washington and the Selma to Montgomery march, and she arranged a tour throughout the deeply segregated South. Her "Freedom Trilogy" songs became rallying cries for protesters everywhere. Through interviews with Joan Baez, Harry Belafonte, Judy Collins, Carly Simon, and many others, Zack brings Odetta back into the spotlight, reminding the world of the folk music that powered the civil rights movement and continues to influence generations of musicians today.

"Wesley Brown is a writer's writer. His dialog in Blue in Green is remarkable. He knows the varieties of the American language in and out. We get fascinating portraits of Dizzy Gillespie, Thelonious Monk, Billie Holiday, Clark Terry, Lena Horne, Katherine Dunham, Eartha Kitt, and others. An insider named Freeloader provides comic relief. Before the salespersons dictated trends in Black literature, a major publisher would have published this book. Thanks to Blank Forms and other midsize presses, the Black literary tradition, whose fictional standards were set by Brooks, Wright, Himes, Polite, Bambara, and others, is alive."—Ishmael Reed "Wesley Brown attempts a difficult thing with this book: He attempts to walk inside the consciousness of Miles Davis at a very complex point in his very complex life. Beaten by police for smoking a cigarette outside Birdland, married to a brilliant and accomplished dancer, leading a sextet that has genius at every station, and fending off demons that are co-authors of his being, Brown's Miles is a man who is troubled and proud. This novella is lyrical, insightful, and beautiful."— A. B. Spellman "Blue in Green is a gorgeous jazz composition. In love and in torment, Miles Davis and Frances Taylor are co-creators and lead soloists. Brown surrounds them with an ensemble of brilliant friends, rivals, and mentors: Monk, Coltrane, Cannonball Adderley, Katherine Dunham, Lena Horne, Eartha Kitt. All have their say—shrewd, ebullient, dissonant. When I closed the book, I wanted to begin it all overagain: see, hear, and re-experience every note of Wesley Brown's wonderful prose music."—Margo JeffersonWesley Brown narrates the day when trumpeter Miles Davis was assaulted by the New York Police Department. A dramatic and humorous story, told from multiple perspectives including that of Frances Taylor, Davis's wife, and the musicians in Davis's bands: a timely meditation on the psychological impact of police brutality, through the lens of a day in the life of Miles Davis. The latest work from the veteran novelist called "one hell of a writer" by James Baldwin and "wonderfully wry" by Donald Barthelme, Blue in Green narrates one evening in August 1959, when, mere weeks after the release of his landmark album Kind of Blue, Miles Davis is assaulted by a member of the New York City Police Department outside of Birdland. In the aftermath, we enter the strained relationship between Davis and the woman he will soon marry, Frances Taylor, whom he has recently pressured into ending her run as a performer on Broadway and retiring from modern dance and ballet altogether. Frances, who is increasingly subject to Davis's temper—fueled by both his professional envy and substance abuse— reckons with her disciplined upbringing, and, through a fateful meeting with Lena Horne, the conflicting demands of motherhood and artistic vocation. Meanwhile, blowing off steam from his beating, Miles speeds across Manhattan in his sports car. Racing alongside him are recollections of a stony, young John Coltrane, a combative Charlie Parker, and the stilted world of the Black middle class he's left behind. --- Wesley Brown (born 1945) is an Atlanta-based writer and educator whose work spans fiction, poetry, biography, theater, and film. His oeuvre is distinguished by its attention to the musicality of speech and its balance of humorous, ironic, and political engagement with American history. In 1956, while a student at State University of New York at Oswego, Brown joined the Student Nonviolent Coordinating Committee, moving south to register voters with the Mississippi Freedom Democratic Party near the Tennessee border, where he first began to write poetry. After an arrest at a demonstration in Jackson, Mississippi, he graduated college and moved to Rochester, New York, in 1968, where he became an active member of the Black Panther Party before returning to his native New York City to join writing workshops led by Sonia Sanchez and John Olliver Killens. In 1972 he was arrested as a conscientious objector to the Vietnam War; in a statement to the draft board he quoted the Panther's Ten Point Program, adding, with his signature use of idiomatic expression, "If you can't relate to that, you can walk chicken with your ass picked clean." He served an eighteen month sentence at Lewisburg Federal Penitentiary in Pennsylvania, which informed the writing of his recently reissued first novel, Tragic Magic (Random House)—edited by Toni Morrison and released to wide acclaim by writers including James Baldwin, Donald Barthelme, and Ishmael Reed in 1978. His short fiction and essays have been published widely, from movement publications such as Liberator to glossies including Essence. For twenty-six years Brown taught literature and creative writing at Rutgers University in New Jersey. During this time he was involved with the National Association of Third World Writers; co-edited celebrated collections of multicultural American literature, authored the historical novel Darktown Strutters (Cane Hill, 1994) and award-winning plays including Boogie Woogie and Booker T. (1987) and Life During Wartime (1992); and wrote, with Thulani Davis, Toni Cade Bambara, and Amiri Baraka, the screenplay for W.E.B. Du Bois: A Biography in Four Voices (1996). After retiring, he relocated to New England, where he taught at Bard College at Simon's Rock in Massachusetts and Bennington College in Vermont, and authored his third novel, Push Comes to Shove (Concord Free Press, 2009), and the short story collection Dance of the Infidels (Concord ePress, 2017).

Now in its fourth installment, with a fifth in preparation, John Zorn's acclaimed ARCANA series has become a major source on new music theory and practice in the 21st century. Rather than an attempt to distill or define a musician's work, Arcana illuminates via personal vision and experience through the undiluted words and thoughts of the practitioners themselves. Elucidating through manifestoes, scores, interviews, notes and critical papers, composer/performers address composing, improvising, teaching, living, touring and thinking in and through music. Essential for composers, musicians, students and fans alike, this challenging and original series provides insight into the work and methodologies of some of the most remarkable creative minds of our time."As musicians, we are at our best when fully engaged in the intensely personal processes of uncovering and revealing the things that we have each found to be true along the way. The pursuit of our own individual goals in sound and conception can offer insights that transcend as we search to reconcile the impossible with the possible, the imagined gesture with the actual fact of music itself. With this fourth volume in the Arcana series, John Zorn has again assembled broad testimony to the cause in an infinity of dialects, wildly diverse but unified with an intent on delivering a range of personal reports that ruminate not only the state of the art in music today, but offer an illuminating view into the deepest crevices of our culture on the move in this most interesting of times."—Pat Metheny"We live in a time of musical illiteracy, but a volume like this, in its multiplicity, enthusiasm, and polemicism offers to anyone wanting to go beyond the tatters of contemporary musical criticism a fascinating look into the minds of a broad segment of living music-makers. Not every view is represented, but enough are, to show how much richer the reality is than the picture presented by the panderers."—Charles WuorineSoftcover, 408pp, illustrated 16.51 x 2.54 x 25.15 cm Tzadik, 2009

In his preface to the first Arcana: Musicians on Music (2000), avant-garde composer and saxophone player John Zorn wrote: "This book exists to correct an unfortunate injustice, the incredible lack of insightful critical writing about a significant generation of the best and most important work of the past two decades." That the injustice was repaired by that collection was happily affirmed by its subsequent success. The range of writing--from the technical to the aphoristic/diaristic--demonstrated that sometimes critical writing on music can inspire as much as it can explicate. As Zorn acknowledged, though, Arcana was also a first step. Now Arcana II, also edited by Zorn, extends the scope of its predecessor, compiling further essential writing by luminaries of contemporary improvisation and composition such as Butch Morris, Evan Parker, Marina Rosenfeld, Ned Rothenberg, Sylvie Courvoisier, Steve Coleman, Dave Douglas, Annie Gosfield, Jim O'Rourke, Milford Graves, Zeena Parkins, Bill Laswell and Uri Caine.Softcover, 330pp, illustrations  16.69 x 1.85 x 25.22 cm Tzadik, 2007

While music fans worldwide celebrate Germany's Krautrock revolution, the equally radical French underground scene has remained largely hidden from view. Ian Thompson's groundbreaking Synths, Sax & Situationists finally illuminates this extraordinary movement that emerged from the revolutionary ferment of May 1968, revealing a generation of musicians who produced some of the most distinctive and vital experimental music of the entire decade. At the dawn of the 1970s, French musicians resolved to tear down musical conventions and build something entirely new. What emerged was a uniquely French synthesis of political radicalism, post-psychedelic experimentation, free jazz liberation, and electronic exploration that challenged both sonic conventions and social structures. The radicalism of May '68 provided not just ideological inspiration but an entire infrastructure of alternative venues, independent labels, and countercultural media that enabled unprecedented artistic freedom. Thompson's meticulously researched narrative chronicles celebrated innovators like Magma, whose cosmic jazz-rock mythologies redefined progressive music possibilities, Gong's psychedelic space-rock odysseys, Etron Fou Leloublan's anarchic deconstructions, Art Zoyd's chamber rock experiments, and Heldon's electronic assaults, alongside the almost-forgotten pioneers: Cheval Fou, Fille Qui Mousse, Barricade, Lard Free, Komintern, Red Noise, Mahogany Brain, Triangle, Zao, Moving Gelatine Plates, Spacecraft, Camizole, Dharma, Placebo, Univers Zero, Cos, Goutte d'Or, and Catherine Ribeiro + Alpes. The book's title perfectly encapsulates the movement's character: synthesizers provided new sonic possibilities, saxophones brought jazz's improvisational freedom, while Situationist theory offered the revolutionary framework that distinguished French experimental music from mere technical innovation. Through extensive interviews with surviving musicians and careful examination of rare recordings, Thompson reveals how electronic technology, free jazz instrumentation, and radical philosophy combined to create music that was simultaneously forward-looking and rooted in traditions of intellectual resistance.    Softcover, 530pp Roundtable Books, Brisbane, 2025

Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips’ work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux.A radical new treatise on time, quantum physics, and racial justice from world-renowned artist and advocate Rasheedah Phillips of Black Quantum Futurism. Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations. Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future? Drawing on philosophy, archival research, quantum physics, and Phillips’s own art practice and work on housing policy, Dismantling the Master’s Clock expands the horizons of what can be imagined and, ultimately, achieved.

A woman settles in a remote Polish village. It has few inhabitants, but it teems with the stories of its living and its dead. There’s the drunk Marek Marek, who discovers that he shares his body with a bird, and Franz Frost, whose nightmares come to him from a newly discovered planet. There’s the man whose death – with one leg on the Polish side, one on the Czech – was an international incident. And there are the Germans who still haunt a region that not long ago they called their own. From the founding of the town to the lives of its saints, these shards piece together not only a history but a cosmology. Another brilliant ‘constellation novel’ in the mode of her International Booker Prize-winning Flights, House of Day, House of Night is a brilliantly imaginative epic novel of a small place by Olga Tokarczuk, one of the most daring and ambitious novelists of our time.Translated by Antonia Lloyd-Jones French paperback with flaps, 336 pagesFitzcarraldo, September 2025   Olga Tokarczuk is the author of nine novels, three short story collections and has been translated into more than fifty languages. Her novel Flights won the 2018 International Booker Prize, in Jennifer Croft’s translation. She is the recipient of the 2018 Nobel Prize in Literature. House of Day, House of Night is her fifth novel to appear in English with Fitzcarraldo Editions. Antonia Lloyd-Jones has translated works by many of Poland’s leading contemporary novelists and reportage authors, as well as crime fiction, poetry and children’s books. Her translation of Drive Your Plow Over the Bones of the Dead by 2018 Nobel Prize in Literature laureate Olga Tokarczuk was shortlisted for the 2019 International Booker Prize.

interviews, essays, notes, rainer werner fassbinder translated by krishna winston  published, October 1992, john hopkinsThe Anarchy of the Imagination colects the most important interviews, essays, and working notes of Rainer Werner Fassbinder, one of the most influential cultural figures to emerge from postwar Germany. Whether reflecting on his won work oir writing about other directors, whether describing his discovery of actress Hanna Schygulla or speaking out in favor of political film making, Fassbinder's perspective is radical, subjective, and challenging. The writing in this volume-nearly all presented here for the first time in English-are an essential part of Fassbinder's legacy, the remarkable body of work in which present-day German reality finds brilliant expression.

A visual distillate of Fassbinder's art, with key stills from each of his movies, an essay by German film historian Hans Helmut Prinzler, and a birthday message by John Waters. Schirmer/Mosel Verlag GmbH, 2022 Hardback, 240pp 15 x 1.9 x 21 cm       2020 Pages 237 p. Hardback  Process Offset Printed Color   ISBN 9783829608954   Astounding document with 190 motion picture stills. Each film is represented, the gang is all here and looking as good as ever. Included is an essay by Hans Helmut Prinzler, a loving birthday message from John Waters and additional musings from Peter Handke. Text in English and German.

Monolithic Undertow alights a crooked path across musical, religious and subcultural frontiers. It traces the line from ancient traditions to the modern underground, navigating archaeoacoustics, ringing feedback, chest plate sub-bass, avant-garde eccentricity, sound weaponry and fervent spiritualism. From Neolithic beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, cone shattering dubwise bass, Hawkwind's Ladbroke Grove to the outer reaches of Faust and Ash Ra Temple; the hash-fueled fug of The Theatre of Eternal Music to the cough syrup reverse hardcore of Melvins, seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow explores the power of the drone - an audio carrier vessel capable of evoking womb like warmth or cavernous dread alike.In 1977 Sniffin' Glue verbalised the musical zeitgeist with their infamous 'this is a chord; this is another; now form a band' illustration. The drone requires neither chord nor band, representing - via its infinite pliability and accessibility - the ultimate folk music: a potent audio tool of personal liberation. Immersion in hypnotic and repetitive sounds allows us to step outside of ourselves, be it chant, a 120dB beasting from Sunn O))), standing front of the system as Jah Shaka drops a fresh dub or going full headphone immersion with Hawkwind. These experiences are akin to an audio portal - a sound Tardis to silence the hum and fizz of the unceasing inner voice. The drone exists outside of us, but also - paradoxically - within us all; an aural expression of a universal hum we can only hope to fleetingly channel... Paperback, 464pp White Rabbit, Feb, 2022