by Raschka using ‘watercolour, ink and torn paper’ it’s a playful book that’s lovely to hold, read and admire. The book examines 29 poetic forms, explaining their rules, giving examples and sometimes breaking the rules. Each page also includes a wonderful little pictorial explanation that aids the understanding of some of the more obscure forms. As well as examining the forms, the book introduces young readers to a wide collection of mainly contemporary US poets and should whet their appetite to explore new writers and to look more closely at poems in a fun way.Illustrated by Chris Raschka   Softcover, 61pp Candlewick Press, 2005

Stay away from nothing shines a spotlight on the deep relationship between Paul Thek and Peter Hujar through the artists’ letters and photographs. Beginning in 1956 and spanning two decades, the publication opens a window into their intimate, complex, and beautiful lives, starting with a sequence of images by Hujar that showcases the two of them in innocent moments of pensive and haunting play in Coral Gables and beyond. These early portraits of their budding relationship are followed by several playful postcards from Thek in 1960 and his first letter to Hujar in 1962, written while the artist is in the Philadelphia harbor aboard a containership bound for Europe. In the letter, Thek is brimming with joy and new discoveries and exclaims that the world “seems bigger and more gloriously strange than ever before in my entire life.” The two eventually meet in Rome, where they both begin to evolve into the icons we know them as today, and the remaining letters trace Thek’s travels and adventures, romantic dalliances, work, and financial ups and downs through 1975. More than fifty letters and postcards, along with drawings and other ephemera, are reproduced in Stay away from nothing and their poetic, quotidian, and melancholic tone provide a rare glimpse into Thek and Hujar’s relationship as it wavers with seduction, glamor, tumult, and mischievousness. Throughout this period, Hujar was photographing Thek in his now-iconic style, capturing him in Italy, in various studios, and on the beaches of Fire Island. Included are the artist’s classic images of Thek in the catacombs in Palermo, as well as his studio portraits of the artist creating The Tomb. Among these well-known works are dozens of other photographs, many unpublished until now, including candid portraits of Thek, as well as images of the two artists goofing around or posing for passport photos. Collectively, these images demonstrate not only the complex emotional interiority of Thek but the tender, dark, and hopeful connection between the two artists, lovers, and friends. An afterword is provided by Andrew Durbin, author of A Wonderful World that Almost Was, a biography of Peter Hujar and Paul Thek.Edited by Francis Schichtel Paperback, 9 x 12 inches, 192 pp Primary Information, 2025   Paul Thek (b. 1933) is among the most legendary and elusive artists of the post-1960s generation. He burst onto the New York scene with his Technological Reliquaries series, then known as “meat pieces,” which challenged Pop and Minimalism with an idiosyncratic approach that merged earnest posthuman embodiment and a critique of contemporary art trends. In Europe in the 1970s, he created new modes of exhibition-making that involved the creation of elaborate, ephemeral installations composed of sand, candles, newspaper, chicken-wire, Polaroids, and discarded furniture. Upon returning to New York in the later years of his career, he produced his deliberately “bad paintings” while continuing his longest-running series of paintings executed on newspaper, works that poignantly underscore his sustained engagement with themes of ephemerality and the passage of time. Thek died of AIDS in 1988. Peter Hujar (b. 1934) died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace ensured that it was one of the last publications during his lifetime.

Articles: aja monet by Ayana Contreras, Azymuth by Ben Lee, Henry Threadgill by Bret Sjerven, Sven-Åke Johansson by Magnus Nygren, Anna Webber by Stewart Smith, Rafiq Bhatia by Florent Servia, Talk Show (Steph Richards & Qasim Naqvi) by Andy Cush, Ganavya by Tina Edwards, Cosmic Tones Research Trio by Blake Gillespie, Quincy Jones by Rob Garratt, Devin Daniels by Samuel Lamontagne, album design essay by Alex Coles, Discaholic column by Mats Gustafsson, album reviews, live reviews, photo essay & more. “Weathering” for aja monet Issue 17 / Winter 2025, 128pp We Jazz Magazine

You don't have to remember usbut know that we were here -the genius of light that shonethrough the green and purple glassThese poems play out in part against the backdrop of the 1980’s and early 90’s, including glimpses into the hedonistic fashion industry of the time and teenage life in the North of England, where sexualities are challenged and identities forged amongst excursions into club culture, as a means of escape - a rite of passage of sorts.Paperback, 182 mm x 128 mm, 74 ppJoan Publishing, December 2025

Sometimes it’s very uplifting to feel one’s fleshy boundaries dissolve. To not know where one ends and the world begins. To feel someone's breast is your breast too. Total immersion can be very transporting indeed.‘I think Fish Out of Water is about recognition, that extraordinary moment of encountering a work of art that makes you reel because it seems to beckon you, to know what you once did but have had to forget, to lead you back to yourself but as a stranger. It reminds us that we might well arrive in this world too soon, or the wrong way round, and what’s meant to nourish us might choke us, but we were never long for all that, anyway. There’s still chance to recover ourselves and the world as new and totally strange.’   Fish Out of Water was originally published in 2020 by Juxta Press, Milan, as part of their Words for Portraits series. This new edition also contains Self-Portrait with Wings, a response to the text by Chloe Aridjis.Paperback, 182 mm x 128 mm, 45 pp

Issue #14 of TALKER is a conversation with Mayo Thompson. As a member of rock group, the Red Krayola, since its formation in 1966, he has made a body of innovative and radically experimental music. The group has been a vehicle for prolific collaboration with contributions from Jim O’Rourke, David Grubbs, Lora Logic, Gina Birch, Sandy Yang and Albert Oehlen among others. The Red Krayola has worked with conceptual art collective Art & Language to release six albums together to date. In the early 1980s, Mayo was a member of Pere Ubu and provided soundtrack music for Derek Jarman. His celebrated 1970 solo record Corky’s Debt to His Father was re-released by Drag City in 1994 and Mayo T. & The Corky Band continue to perform this music live. He is also a visual artist and has published two novels. This interview discusses performance throughout Mayo’s work, exploring links between happenings and early Red Krayola live shows, formative encounters with performance art as well as the band’s participation in the 2012 Whitney Biennial.Softcover, 20pp, 280 x 180mm, Riso printed Talker, Giles Bailey, 2025

Though his years in the New York free-jazz scene of the sixties cemented his reputation as “one of the most forceful and convincing composers and soloists in his field,” saxophonist Sonny Simmons (1933–2021) was nearly forgotten by the eighties, which found him broke, heavily dependent on drugs and alcohol, and newly separated from his wife and kids. “I played on the streets from 1980 to 1994, 365 days a year,” Simmons tells jazz historian and biographer Marc Chaloin in Better Do It Now Before You Die Later. “I would go to North Beach, and I’d sleep in the park. The word got around town that Sonny is a junkie, really strung out.” The resurrection of Simmons’s career—upon the release of his critically acclaimed Ancient Ritual (Qwest Records) in 1994—has become a modern legend of the genre. In the last two decades of his musical career, Simmons broke through to a new echelon of recognition, embarking on successful European tours, leading new ensembles, and recording a series of twenty-first-century albums that inducted him, by his death at the age of eighty-seven, into the pantheon with the great innovators and masters of the music. But to this day he remains an undersung figure. Here, in the first-ever book dedicated to his life, Simmons recounts his childhood in the backwoods of Louisiana, his adolescence in the burgeoning Bay Area jazz scene and his star-studded life in New York playing alongside the greats: Sonny Rollins, Eric Dolphy, and John Coltrane. His testimonies from each time and place add up to a cultural history of the late twentieth century: Simmons saw Billie Holiday and Thelonious Monk at the Black Hawk, lived through the Watts riots, stashed guns for the Blank Panther Party, brushed shoulders with Jefferson Airplane and Jimi Hendrix, and toured Europe amid the multiculturalist boom of the nineties. But it’s his keen memory for the underdogs and up-and-comers that distinguishes Simmons’s voice. He talks plenty of shit on his rivals—Pharoah Sanders and John Handy were, in Simmons’s words, “hip … great players, but I was the cat who was moving.” Meanwhile, Miles Davis was “arrogant and blasé and talking shit,” and Prince Lasha “got scandalous with his lover-man shit.” But Simmons reserves his most ferocious loyalty for names elsewhere unremembered, like the altoist Alfred Franklin, the mononymous Hop, or the Wild Man, Stanley Willis. Of the "brilliant motherfucker" and tenorist Jewel Sterling, as of many others, Simmons declares, “I don't want to forget that brother. I want to resurrect him too.”  Whether he’s writing about his many love affairs; his turbulent romantic and creative partnership with the accomplished jazz trumpeter Barbara Donald; the pain of seeing his friends and heroes laid low by addiction; or the racism he endured in evolving forms across decades and states, Simmons brings the ferocity of style that animated his music to every sentence. And underneath it all remains the electric charge of his artistic passion. “I think all I needed during them terrible periods in darkness and despair was to play,” he writes, of his hardest years in San Francisco. “To be able to express the music in me was like a cleansing ritual.” Like Charles Mingus’s Beneath the Underdog and Art Pepper’s Straight Life, Simmons’s Better Do It Now Before You Die Later delivers an unfiltered, firsthand account of life in the bebop business in all its brilliance and brutality, capturing the devastating lows of addiction, poverty, and obscurity and the ecstatic highs of a life dedicated to The Music.Hardback, 170x240, 560pp Blank Forms, 2025

One hundred years ago, playwright Berta Lask (1878–1967) was commissioned by the German Communist Party to write a play marking the quatercentenary of the German Peasants’ War. She agreed, staging the reappearance of its leader Thomas Müntzer — who awakens every hundred years to address the present, represented in the prologue as a cast of striking proletarians to whom he tells his story. In the play, Lask poses a basic question: What would Thomas Müntzer see if he woke up today? A list accrues: Climate breakdown, imperialism, gendered oppression, earthquakes, genocide, impending fascism. Capitalism didn’t dig its own grave. Rather, the dead oppressors of previous centuries have been resurrected, planted in new bodies, tooled with new modes of bondage, within uneven spatial domination and temporal disjunction. Thomas Müntzer, with all of its time travel and its modes of resurrection, addresses the present from a past multiplied. For the first time, Lask’s play has been translated for a print edition alongside a set of commentaries and interventions: on everything from the “prolatarian problem play” to rainbows and bundles of twigs; from Albrecht Dürer’s monument to the slain peasants to Paul Robeson’s rendition of “Joe Hill”; from revolutionary violence to tragic commemoration.  Translated by Sam Dolbear with Esther Leslie, Joey Simons and Charlotte Thießen, both volumes are edited by Sam Dolbear. The second, commentaries, volume includes contributions by Caroline Adler, Joseph Albernaz, Hunter Bivens, Shane Boyle, Rebecca Comay, Sam Dolbear, Loren Goldman, Danny Hayward, Disha Karnad Jani, Sam Keogh, Henrike Kohpeiss, Esther Leslie, Huw Lemmey, Peter Linebaugh, Hussein Mitha, Vesa Oittinen, Hannah Proctor, Daniel Reeve, Ashkan Sepahvand, O. L. Silverman, Joey Simmons, Kerstin Stakemeier, virgil b/g taylor, and Alberto Toscano. Download as a printable PDF here. Download as a e-book here. It is our hope that readings or performance of the play take place all over the world, to mark the centenary of the play and the quincentenary of the events it depicts.  In the play, Lask poses a basic question: What would Thomas Müntzer see if he woke up today? A list accrues: Climate breakdown, imperialism, gendered oppression, earthquakes, genocide, impending fascism. Capitalism didn’t dig its own grave. Rather, the dead oppressors of previous centuries have been resurrected, planted in new bodies, tooled with new modes of bondage, within uneven spatial domination and temporal disjunction. Thomas Müntzer, with all of its time travel and its modes of resurrection, addresses the present from a past multiplied.  Softcover, A4, 2 x volumes, 92pp/ 112pp Rab-Rab, Helsinki, November 2025 Designed by Ott Kagovere, the two A4 size volumes are wrapped in a poster by artist Sam Keogh.

This co-authored work focuses on five performances developed by Blue Pieta, a multidisciplinary artist, director, dramaturg and performer and Bhanu Kapil, a poet, between 2022 and 2025. A public notebook of working scores and performance writing, AUTOBIOGRAPHY OF A PERFORMANCE contains analytic depictions of shared time experienced during performance, notes on dramaturgy and applause, and thinking towards performance as a mode of inter-generational healing (borderwork). This hybrid collection studies performance as a place both unknown and emergent, the rough sketch that's always incomplete, carried over to the next performance, and always in the company of radical others of many kinds. Both writers also change roles during the course of a performance, a mode of autobiography that most closely resembles mutation. A dramaturg is also an artist, a dancer, the poet of the work. A poet stands up from the table where they are seated to enter the domain of gesture and movement. Pieta and Kapil decompress an interoceptive approach to poetry, memory and ritual awareness: scenes that can't be written, but only staged.Softcover, 123pp The 87 Press, London, November 2025

Staring Into The Sun is the latest ethno-folk cinema classic from Sublime Frequencies. Ethiopia is known to be one of the oldest areas inhabited by humans and presently has over 80 diverse ethnic groups. In 2009, photographer/filmmaker Olivia Wyatt explored 13 different tribes throughout Ethiopia in this visually stunning film on DVD with accompanying 136-page book of Polaroid photographs and audio CD of field recordings. Traveling from the northern highlands to the lower Omo Valley via bush taxi, Isuzu cargo trucks, and by any means possible, Wyatt brings together the worlds of Zar spirit possession, Hamer tribal wedding ceremonies, Borena water well polyphonic singing, wild hyena feedings and bizarre Ethiopian TV segments, presenting an enchanting look at these otherworldly images, stark landscapes and captivating sounds from the horn of Africa. The featured tribes are captured with an unflinching sense of realism and poetic admiration resulting in a visual and aural feast of the senses. 136-page hardcover photography book with one music CD and one film on DVD. 5 1/2 x 5 1/4 inches, landscape format. 117 color photographs and liner notes by Olivia Wyatt. Sublime Frequencies' most elaborate package yet. One-time limited edition pressing of 1,000 copies.

This book is a historical and interpretive study of the movement of jazz experimentalism in West and East Germany between the years 1950 and 1975. It complicates the narratives advanced by previous scholars by arguing that engagement with black musical methods, concepts, and practices remained significant for the emergence of the German jazz experimentalism movement. In a seemingly paradoxical fashion, this engagement with black musical knowledge enabled the formation of more self-reliant musical concepts and practices. Rather than viewing the German jazz experimentalism movement in terms of dissociation from their African American spiritual fathers, this book presents the movement as having decisively contributed to the decentering of still prevalent jazz historiographies in which the centrality of the US is usually presupposed. Going beyond both US-centric and Eurocentric perspectives, this study contributes to scholarship that accounts for jazz’s global dimension and the transfer of ideas beyond nationally conceived spaces. "Few studies have understood how improvised music functions as a complex ecosystem, indeed an interlocking one that overlaps and exchanges with other like ecosystems, not just musical ones, but artistic, political, and social ones as well. Perhaps only George Lewis’s A Power Stronger Than Itself and Kevin Whitehead’s New Dutch Swing have managed to capture the intricacies of free music – or what Lewis has termed “experimentalism” – in this way, with the depth and feeling that it deserves. "Harald Kisiedu’s magnificent European Echoes: Jazz Experimentalism in Germany, 1950-75 joins the ranks of these groundbreaking books, adding indispensable substance to the current scholarship. Basing his argument on meticulous primary research that includes many unknown or under-discussed details, Kisiedu moves deftly between biography, history and analysis, ultimately depicting improvised music in Germany as part of a continuum with African American jazz, rather than falling into line with received knowledge, which has tended to treat it as a major break – an “emancipation,” to use the problematic language often deployed – from its precursors and contemporaries in the United States. This allows Kisiedu to investigate the complexities of race, in particular, in the emergent new music of both West and East Germany, but also to evaluate the specificity of German improvised music, its relationships to Fluxus and its place in relation to new art and contemporary composed music in Europe, and the political and social contexts of the divided country in which it all emerged. Along the way, Kisiedu provides the most detailed biographical portraits of his principal subjects – Peter Brötzmann, Alex Schlippenbach, Manfred Schoof, and Ernst-Ludwig Petrowsky – yet published in English, and the book includes an important trove of newly discovered and previously unpublished photographs.“   John Corbett, Chicago, author of „A Listener’s Guide to Free Improvisation“ "Harald Kisiedu’s groundbreaking interdisciplinary study trenchantly illuminates how during the Cold War and after, first-generation German and Swiss experimental musicians challenged national, political, conceptual, and racial borders to produce cosmopolitan new forms and practices of free improvisation. Kisiedu brings the study of improvised music together with German studies, critical race theory, and political science to produce a rigorous yet intimate portrait of the musical, cultural, and personal relationships among highly innovative musicians who shaped a new future of music.“  George E. Lewis, author of „A Power Stronger Than Itself: The AACM and American Experimental Music“

IONE is a Dream Keeper: a facilitator of dreams. Sharing this intimate part of our being, she believes, can be the start of new ways of being with one another. Exploring the reality of the dream and the dream of reality over many decades has led IONE to appreciate the quantum nature of dreams. Weaving science and dream traditions from around the world together with her own memories and the dreams of her friends and community members, Quantum Dreaming shows that as we start practising awareness, our consciousness also deepens.IONE and Pauline Oliveros’s shared vision of a harmonious, self-sustaining network of artists and dreamers led to the founding of the Deep Listening Institute. Quantum Dreaming similarly seeks a radical shift in our collective consciousness, across all states of dreaming and waking.Afterword by Sarah shin  Images by Sammy Lee  Paperback, 113x160mm, 96pp Silver Press/ Spiral House, Portals Series, London, June 2025

Careening through 850+ releases, from chaotic sound collage work to their eight-and-a-half-hour magnum opus, named LUX, we find out how Octa Mobius Sheffner’s career came to its end, who they think is winning the current musical ‘arms race’ and watching the Western culture eat itself from 6,000 miles away. (This edition also comes with an exclusive cassette release of Octa’s EP Rules + cloth-. This breathtaking post-industrial journey, limited to 30 cassettes, is a rare opportunity to experience Octa’s music in physical form.)   We catch up with Will Wiesenfield to find out more about the alias Baths, the new album Gut and how it’s even more shamelessly honest than everything that has come before it. After which we head to Corsica to watch him dodge theatrically between venue-rattling beats and snares.   A mainstay of the online music scene sadly passed away this year. Alan Morse Davies was a friend to many and a collaborator of a lucky few. We give space to those who knew him to remember, in hopes that more will appreciate his impact.   The aficionado of ambient balladry, Lucy Liyou, provides an insight into the music behind her truly unique sound. This edition also features analysis of the biggest releases from the past month and reviews of hidden gems, including from Ninajirachi, Twin Galaxxies and Briana Marela.  A5, staplebound, 24pp listencorp, October 2025 listencorp.co.uk

The second Norient book «Seismographic Sounds: Visions of a New World» introduces you to a contemporary world of distinct music, sounds and music videos. Niche Music from Johannesburg to Helsinki, Jakarta to Los Angeles that speaks of a changing geography of multi-layered modernities, far beyond old ideas of North versus South, West versus East. Edited by Theresa Beyer, Thomas Burkhalter, and Hannes Liechti   Scholars, journalists, bloggers and musicians from Bolivia, Pakistan, Nigeria, Switzerland and forty-six other countries discuss artistic expressions that may not make big headlines yet, but anticipate major changes to come. Produced in oftentimes small studios from Jakarta to La Paz, Cape Town to Helsinki, these works experiment with the new possibilities of the Internet age and illuminate new spaces beyond the confines of commercialism, propaganda, and bigotry. They foresee a changing geography of multi-layered modernities, far beyond old ideas of North versus South, West versus East. Discover this through a collage of articles, interviews, quotations, photographs and lyrics. - music and money, music an loneliness, music and war, exotica, gender, sampling-culture, post-digital pop - Punk in Bolivia and Indonesia, Electronic Music in Egypt, Underground Pop from South Africa and Nigeria, Rap in Pakistan, Serbia, Chile and Ghana, Noise Music from Israel, Seapunk and Vaporwave from the US, Post Digital Pop from the UK, Neuer Konzeptualismus, and much more. contributions by Aisha Deme, Jenny Mbaye, Wayne Marshall, Cande Sánchez Olmos, John Hutnyk, Thomas Burkhalter, Andy Bennett, Theresa Beyer, Sandeep Bhagwati, Hillegonda C. Rietveld, Ali Haider Habib, Arie Amaya-Akkermans, Martin Daughtry, Hannes Liechti, Derek Walmsley, Elijah Wald, C-drík Fermont, FrankJavCee, Florian Sievers, Percy Mabandu, Louise Gray, Nabeel Zuberi, Kimberly DaCosta Holton, Julio Mendívil, Oliver Seibt, Nana Darkoa Sekyiamah, Emma Dabiri, Jonathan Fischer, B Camminga, Sonja Eismann, Michael Rebhahn, Eduardo Navas, Adam Harper, and many more.edited by Theresa Beyer, Thomas Burkhalter, Hannes Liechti Softcover, 504ppNorient Books, Bern, 2015Languages: English (75%), German (24%), French, Italian (1%)

The new Norient book Home is Where the Heart Strives explores what place means in relation to music and sound. 85 contributors from 38 countries map their sonic landscapes of migration, war, queerness, and home through essays, poems, articles, artworks, photos, and songs. From a metalhead smuggling banned tapes across the Syrian border to an oasis in the mountains of Bogotá where people gather to vogue, we are looking for places where differences don’t dissolve but resonate.   with contributions by Lendl Barcelos, Bananamonkey, Basil Anliker aka Baze, Marina Benetti, Persis Bekkering, Birds WG, Penelope Braune, Thomas Burkhalter, Kadallah Burrowes, Sinatra Chumo, Juliana Cuervo, Sumangala Damodaran, Domingos, Rana Eid, Ronja Falkenbach, Faravaz Farvadin, Šejma Fere, Vera Fonseca, Chandra Frank, Sally Garama, Dennis Gupa, Rehab Hazgui, Sizo Hlope, Hitman Kaht, Umi Hsu, Ibaaku, Andra Ivănescu, Bruce Johnson, Devangana Kalita, Paul Kammies, Raphael Kariuki aka djrPH, Karun, Anahid Kassabian, Paola LaForgia, Sasha J. Langford, Lutivini Majanja, Chris McGuinness, Elia Meier, Luigi Monteanni, Zahra Motallebi, Jesse Munene, Isaac Abraham Williams aka Isaac Mutant, Natasha Narwal, Janina Neustupny, Saba Niazmand, Kai Oh, Shaahin Peymani, Vinzent Maria Preuẞ, Nazifah Raidah, Philipp Rhensius aka Alienationist, Urs Rihs, Rami Sabbagh, Tanasgol Sabbagh, Sergio Salazar, Justin Oliver Salhani, Jacek Szczepanek Nate Sloan, André Santos, Diana Santos, Ali Sayah, Tillman Severin, Martin Stokes, Studio Flux, Anubhuti Sharma, Majd Shidiac, Jorgé Aarón Silva Rodríguez, Thasil Suhara Backer, Suvani Suri, Gisela Swaragita, Pjotr Tkacz-Bielewicz, Shzr Ee Tan, Wiwi Tri, Fujiko Urdininea, Maria Uthe, Ujif_notfound, Upendra Vaddadi, Abhishek Vidyarthy Singh, Johann Voigt, Elijah Wald, McKenzie Wark, Arief Wibisono, Ytasha Womack, Kimihiro Yasakaedited by Philipp Rhensius, Janina Neustupny, Thomas Burkhalter, Hannes Liechti, and Vinzent Maria Preuß    Softback ,16.5 × 23.5 cm, full colour, 314ppNorient Books, Bern, July 2025

The Norient Special Sonic Traces: From Italy is a multi-layered, multimedia approach to the open question of «Italian Identity» in sound and music. Through a variety of approaches, from essay to memoir, interview, video playlist, and open letter, Sonic Traces: From Italy hopes to foster a broader conversation on the past and present of Italian culture, as it asks the unanswered question: What can be labeled as Italian music, after all?  edited by Francesco Fusaro With contributions by Riccardo Balli, Lorenzo Brusci, Federico Campagna, Lorenzo Cibrario, Luca Locati Luciani, Sonia Garcia, Paola Laforgia, Marco Mancassola, Maria Catena Mancuso, Nathasha Edirippulige Fernando, Seb Patane, Agostino Quaranta, Bruno Rana, Justin Salhani Softcover, 132pp Norient Books, Bern, May 2021

When Ursula K. Le Guin started writing a new story, she would begin by drawing a map. The Word for World presents a selection of these images by the celebrated author, many of which have never been published before, to consider how her imaginary worlds enable us to re-envision our own.  Le Guin’s maps offer journeys of consciousness beyond conventional cartography, from the Rorschach-like archipelagos of Earthsea to the talismanic maps of Always Coming Home. Rather than remaining within known terrain, they open up paradigms of knowledge, exemplified by the map’s edges and how a map is read, made and re-made, together. The Word for World brings her maps together with poems, stories, interviews, recipes and essays by contributors from a variety of perspectives to enquire into the relationship between worlds and how they are represented and imagined.  Contributors: Federico Campagna, Theo Downes-Le Guin, Daniel Heath Justice, Bhanu Kapil, Canisia Lubrin, Una McCormack, David Naimon, Nisha Ramayya, Shoshone Collective, Standard Deviation, Marilyn Strathern. Co-published by Spiral House and AA Publications to coincide with an exhibition of Ursula K. Le Guin’s maps at the Architectural Association, London, opening on 10 October 2025.  edited by So Mayer & Sarah Shin Paperback, 112 pp Spiral House, October 2025

Softcover, 11,9 x 16,5, 119pp, English edition Rab-Rab, September 2025     Edited and introduced by Sezgin Boynik and Jyrki Siukonen. Translated from the Russian by Mikko Viljanen. The first English translation of Viktor Shklovsky's children book Journey to the Land of Movies, originally published in 1926 in Russian. The book, including Dimitry Mitrokhin's original colour illustrations,tells the story of twelve-year-old Kolya's journeys in the US. While travelling he experiences inequality and exploitation, and at the same time learns how films are made, and in which way movie industry operates. New expanded edition of the book published in 2017 (ISBN 978-952-93-8867-7), with an updated translation, new commentaries and a completely new design. Viktor Shklovsky (Victor Borissovitch Shklovsky, 1893-1984) was a Russian literary theorist, critic and writer, founder of the St. Petersburg group of Russian formalists OPOYAZ.