World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1986, English
Softcover (staple-bound), unpaginated, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Self Published / Melbourne
$100.00 - In stock -
Extremely rare, private-issued 1986 Christmas gift publication compiled by Nobel Peace-winning writer, researcher, and activist, Richard Tanter, "for my friends, Christmas 1986". The publication is a personal and diverse selection of poems and small texts for Richard's friends, rich with progressive, libertarian sentiment and revolutionary struggle, reflective of Richard's devoted political work. Includes many works by Bertolt Brecht, Chris Mann, Ursula Le Guin, Samih al-Qasim, Sitor Situmorang, John Berger, V. S. Naipaul, Hans Magnus Enzensberger, Ingeborg Bachmann, John Duigan, Percy Bysshe Shelley, I.F. Stone, Dorothee Sölle, Wendy Poussard, Kim Chi-ha, Sadako Kurihara, Ho Chi Minh, George Woodcock, Emily Dickinson, A. D. Hope, John Dowland, Dorothy Parker, Stephanie Smolensky, David Malouf, Robin Morgan, Attila József, Victor Serge, and Richard Tanter. An incredible collection, and a very rare insight into the literary heart of Tanter.
"These are poems I've come across in the last year or so, and which I've put together as a Christmas and New Year present for friends. Some are well-known; others not. They are all poems I like for one reason or another, and which I think that most people or particular people will enjoy reading and speaking. There's lots of Brecht because I like reading him, and Ursula Le Guin for the same reason — but fewer people know of her poetry. Several poems are by friends — thanks for letting me use them here. A couple are my own, and are obviously only included for friends.
Like most other Australians I developed a trained incapacity to enjoy or read poetry at school, followed by a horror flight from Eng Lit. Now I feel more unashamedly instrumental about it all — I read and look for what makes more sense of the world and my feelings. And for the speaking of the words.
Another year.
—Richard"
Hand typeset, photocopy printed and bound, this copy was gifted to Australian experimental composer Warren Burt. Inscribed to title page by Richard.
Professor Richard Tanter is a writer, researcher, and activist. He has worked on issues around militarization in Asia, nuclear weapons, and the role of intelligence agencies in Indonesia, Japan and Australia. More recently Richard and the late Des Ball produced eight forensic research papers on Pine Gap. This work underpinned Richard’s campaign role with other colleagues on the Australian board of ICAN. In 2017, ICAN was awarded the 2017 Nobel Peace Prize for its work in helping in the passage of the Treaty for the Prohibition of Nuclear Weapons at the United Nations.
Very Good copy with light edge wear only.
1994, English
Softcover, 176 pages, 23 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$45.00 - Out of stock
First English printing from the legendary Atlas Press, London.
"DADA MEANS NOTHING!" So proclaimed Tristan Tzara, the movement's tireless publicist. Yet this did not prevent the most fanatical and talented artists and writers across Europe from rushing to join its ranks. Anti-war, anti-art, anti-dada, from its beginnings in Zurich during the first World War the dadas swept aside the cultural, philosophical and political norms of their time. Utter disgust with a society that had created the war (and then expected to survive the peace) spurred them to ever greater demonstrations of revulsion and derision. Yet it was not all nihilism: many factions worked within the Dada Movement and it was Huelsenbeck's intention to embody most of them in the Dada Almanac. The largest collection of Dadaist texts ever assembled by the movement, it was originally published in 1920 in a mixture of French and German.
The Dada Almanac was truly international in scope, with substantial sections from the Swiss and French sections of the movement, it embodies Dada's failings as well as its successes, its excesses, its seriousness, its idiocy, but above all the anarchic vitality which made it such a vital precondition for so much that followed in the fields of art, literature and general cultural terrorism.
The editors of this first English translation have added dozens of other relevant texts, documents, portraits etc, as well as explaining contemporary references and events and providing biographies of the numerous personalities involved.
Very Good copy, light wear.
1995, English
Softcover, 304 pages, 23 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$65.00 - Out of stock
Long out-of-print Atlas Arkhive 2 published by the legendary Atlas Press in 1995. This anthology is the largest ever selection from the Decadent and Symbolist writers of the French fin-de-siècle — a period whose social and spiritual ills had so much in common with those of today.
The selection is based on a series of essays on contemporary writers published as The Book of Masks by the foremost critic and author of the period: Remy de Gourmont. (The "masks" are remarkable portrait drawings by Félix Vallotton.) De Gourmont's essays brilliantly evoke the pre-occupations of each author, their genius and shortcomings, while simultaneously describing, and contributing to, the literary theories of the movement. His introduction provides one of the most important overviews of Symbolism and describes its gradual subsidence into its "dark side": decadence. De Gourmont's book consisted solely of essays, but the editor of this anthology has added characteristic texts from each writer to accompany them. Nearly fifty are included, ranging from the extraordinary obscure and unjustly forgotten to the literary giants of the day. Here are works by Gide, Mallarme and Verlaine which have never before appeared in English.
Symbolism was a strange amalgam of the social turmoil of its times; its authors veer between an aesthetics based on simplicity and asceticism and the decadent debauches forever associated with Huysmans and Wilde. Their political associations were equally split, between Catholic piety and right-wing nationalism, and anarchist individualism taken to the point of bomb-throwing. What united these disparate writers was a desire to escape the confines of realism. They produced a fierce literature based on a renewed use of language, finely tuned, often astonishingly lush, which examines that mysterious region of the spirit that lies between inner and outer life. This collection should necessitate a complete re-evaluation of a school of writing that endured for several decades.
Good—Very Good copy with some wear to extremities small bump to bottom of spine, creasing to boards.
1994, English
Softcover, 404 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
John Hopkins University Press / Baltimore
$30.00 - In stock -
Featuring "Shibboleth for Paul Celan" by Jacques Derrida
The crucial role of Paul Celan in postwar literature is widely recognized among European scholars, but has been addressed only scarcely in the Anglo-American academy. In Word Traces Aris Fioretos attempts to redress that imbalance, bringing together thirteen expert readers in the most extensive English-language critical collection on Celan yet published.
The volume begins with the first complete English translation of Jacques Derrida's book-length essay, "Shibboleth for Paul Celan." Chapters by Otto Pöggeler, Dennis J. Schmidt, and Philippe Lacoue-Labarthe then explore the relationship of poetry and philosophy in Celan's work.
Christopher Fynsk, Joel Golb, and Werner Hamacher discuss the interrelation of poetry and poetics, and Anders Olsson, Hans-Jost Frey, and volume editor Fioretos examine the peculiarly "written" character of Celan's poetry. In the book's final section, chapters by Hans-Jost Frey, Thomas Pepper, and Leonard Olschner treat the implications of Celan's practice of translation.
"Despite a growing interest in Celan over the past twenty years, there is no collection in English which comes close to the extended critical presentation assembled here. Word Traces will be a standard text on Celan—the variety of the essays is wide and will appeal to specialists in philosophy, German studies, modern poetry, comparative literature, and literary theory. This is an impressive collection of texts written by philosophers and critics whose concerns show the pertinence and breadth of Celan's writings for contemporary thought."—Steven Ungar, University of lowa
Aris Fioretos is a Mellon Scholar in the Department of German at the Johns Hopkins University. He is author of Det kritiska ögonblicket: Hölderlin, Benjamin, Celan, editor of a forthcoming volume of essays, The Solid Letter: New Readings of Hölderlin, and translator of the Swedish edition of Jacques Derrida's Schibboleth pour Paul Celan.
Very Good copy.
1973, English
Softcover, 140 pages, 20 x 13 cm
1st Edition, Out of print title / used / good
Published by
Penguin Books / London
$25.00 - In stock -
Collection of Osip Mandelstam's poems translated to English by Clarence Brown and W. S. Merwin and published in 1974.
Osip Mandelstam (1891–1938) ranks among the most significant Russian and Soviet poets of the 20th century. He was born in Warsaw, Poland in or around 1891, but soon afterward his family moved to St. Petersburg, Russia. Mandelstam first published his poems in Apollyon, an avant-garde magazine, in 1910, then banded together with Anna Akhmatova and Nicholas Gumilev to form the Acmeist group, which advocated an aesthetic of exact description and chiseled form, as suggested by the title of Mandelstam’s first book, Stone (1913). During the Russian Revolution, Mandelstam left Leningrad for the Crimea and Georgia, and he settled in Moscow in 1922, where his second collection of poems, Tristia, appeared. Unpopular with the Soviet authorities, Mandelstam found it increasingly difficult to publish his poetry, though an edition of collected poems did come out in 1928. In 1934, after reading an epigram denouncing Stalin to friends, Mandelstam was arrested and sent into exile. He wrote furiously during these years, and his wife, Nadezhda, memorized his work in case his notebooks were destroyed or lost. (Nadezhda Mandelstam’s extraordinary memoirs of life with her husband, Hope Against Hope and Hope Abandoned, published in the 1970s, later helped to bring Mandelstam a worldwide audience.)
Good—VG copy light general wear and toned pages.
1969, English
Hardcover (w. dust jacket), 340 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
Hutchinson International Authors / London
$10.00 - In stock -
"When J. B. Leishman died just over six years ago, he left, among his posthumous papers, manuscript lectures on Milton's minor poems which have now been edited for publication by Professor Geoffrey Tillotson, his literary executor. Such a book is doubly welcome: first and foremost, it is by J. B. Leishman, an outstanding scholar and literary critic, author of The Monarch of Wit, Themes and Variations in Shakespeare's Sonnets and The Art of Marvell's Poetry, as well as translator of Rilke; secondly, it is concerned with Milton's minor poems, to which surprisingly little attention has been paid by recent critics, in comparison with Paradise Lost.
Over half this book is devoted to Comus and Lycidas, the rest chiefly to L'Allegro, Il Penseroso, Arcades and the Ode on the Morning of Christ's Nativity. Characteristically, Leishman is concerned to show from what sources Milton derived his ideas, images and phrases. He makes numerous comparisons, quoting widely both from the Greek and Roman poets and from Milton's English predecessors and contemporaries.
Professor Tillotson writes: 'Many of us nowadays have almost no equipment for reading Milton as he should be read.
Leishman laboured to make himself as nearly the ideal reader of Milton as he could manage. He read what Milton had read, which meant in particular the poetry written in Europe from its beginnings in Greece and Rome? This book is far more, though, than an immensely learned discussion; it is 'critical appreciation' in the fullest sense. Leishman imparts not only scholarship but enthusiasm, as when he lovingly calis Lycidas the most perfect poem of its length in the English language' And after reading Leishman we can indeed turn to Lycidas, and to the other poems, with greater understanding and enjoyment."
Good copy with price-clipped end paper. Good dj with wear to extremities.
1985, English
Hardcover (w. dust jacket), 252 pages, 22.4 x 14 cm
1st Edition, Out of print title / used / very good
Published by
University of Nebraska Press / Lincoln
$70.00 - In stock -
"In the last ten years, nothing of interest has been written in France that does not have its precedent somewhere in the work of Jabès."—Jacques Derrida
Rare first hardcvoer edition of this first full-length study in English of the work of Edmond Jabès. It provides a comprehensive introduction to his books, which — thanks to the translations of Rosmarie Waldrop — are now accessible to a growing British and American audience.
Any discussion of the writing of this Egyptian-born and French-speaking Jewish postmodernist must deal with a number of important literary issues: the nature, necessity, and difficulty of post-Holocaust Jewish literature; contemporary theories of deconstruction and the ontological limits of writing; the poetics of exile and dis-placement. Jabes's works strike at the heart of all these matters.
Eric Gould introduces the collection and contributes one of the seventeen essays. Four significant entries by Jabès himself and an interview by Paul Auster make this book an essential starting point for all future studies. Two commentaries by European critics, Maurice Blanchot and Jean Starobinski, appear in translation. Analyzing and responding to the intensely lyrical and aphoristic writing that makes up the seven volumes of The Book of Questions and the three of The Book of Resemblances are such American scholars and poets as Mary Ann Caws, Robert Duncan, Edward Kaplan, Susan Handelman, Richard Stamelman, Rosmarie Waldrop, Sydney Lévy, Kathryn Kinczewski, and Berel Lang.
Very Good copy in VG dust jacket with minor price tag discolouration/wear.
1975, English
Hardcover (clothbound in slipcase), 48 pages, 27.5 x 19 cm
Ed. of 3000,
1st Edition, Out of print title / used / fine
Published by
Thames and Hudson / London
$30.00 - In stock -
Lavish 1975 slipcase reproduction of Le livre du Coeur d'amour épris (The book of the love-smitten heart) an allegorical romance written in 1457 by King René of Anjou (1409-80). Inspired by a tragic loss, illustrated with the most beautiful twilight scenes of illumination: an allegorical chivalric romance written by Duke René d´Anjou and illustrated by Barthélemy d'Eyck
The text in verse and prose recounts the quest for love of the knight Heart who, in a dream, leaves with Desire in search of his lady, Mercy. This amorous journey combines the knight's studies and his personal memories. The tone is that of a disenchanted man at the end of his life, for whom courtly love and desire both amount to obstacles and suffering. The work combines features of the Arthurian novels in prose and allegorical poems in the style of the Roman de la Rose.
Near Fine—Fine copy all-round.
2025, English
Softcover, 160 pages, 19.8 x 12.9 cm
Published by
Silver Press / London
$35.00 - In stock -
This new edition brings together over forty contemporary voices exploring the territory where justice, selfhood and the imagination meet the transformative power of the occult. These poems unmake the world around them so that it might be remade anew. Contributors include Rachael Allen, Bhanu Kapil, Amy Key, Daisy Lafarge, Dorothea Lasky, Nisha Ramayya, Ariana Reines, Kaveh Akbar, Nuar Alsadir, Khairani Barokka, Emily Berry, Rebecca May Johnson, Jane Yeh, Flora Yin Wong. Further contributors include: A.K. Blakemore, Jen Calleja, Anthony V. Capildeo, Elinor Cleghorn, CAConrad, Nia Davies, Paige Emery, Livia Franchini, Alexis Pauline Gumbs, Will Harris, Caspar Heinemann, Lucy Ives, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Precious Okoyomon, Rebecca Perry, Nat Raha, Sophie Robinson, Erica Scourti, Sarah Shin, Himali Singh Soin, Tai Shani, Rebecca Tamás, Bones Tan Jones, Dolly Turing,
2025, English
Softcover, 360 pages, 22.8 x 15.2 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
An exploration of the Witch, as radical archetype, in ancient and contemporary life. An adult woman haunted by her childhood muses on the foster system, institutions, and the medieval tale of a girl given to a witch. A genderqueer Brooklynite learns of their past life as a murdered sorceress. An uptight participant at a Northern California witch camp finds community in the kitchen. A professor uses magic to help students under attack by right-wing politicians. In this collection of manifesto, poetry, playscripts, and prose, the archetype of the Witch is honored and unpacked, poked and prodded, owned and othered. From work centered in antiquity to writing which illustrates how primordial occult energies continue to enliven our world today, WITCH: Anthology lays bare a wilderness of myth, magic, trickery, and power swarming beneath the surface of contemporary life.
With work from CAConrad, Edgar Fabián Frías, Amanda Yates Garcia, Ashley Ray, Brooke Palmieri, Yumi Sakugawa, Kai Cheng Thom, Ariel Gore, Myriam Gurba, Fariha Róisín, and many others.
2025, English
Hardcover, 160 pages, 13 x 13 cm
Published by
kiddiepunk / Paris
$60.00 - In stock -
A series of haunted and tragic events are pieced back together in Thomas Moore’s first book of poems in 7 years. Told in shattered, three-lined verses, "I RUINED YOUR LIFE" explores guilt, mourning, regret and blame with a searingly precise economy of language.
1979, English
Hardcover (w. dust jacket), 274 pages, 23.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Wydawnictwo Literackie / Kraków
$140.00 - In stock -
Rare first 1979 hardcover bi-lingual (Polish/English) edition of "Building the Barricade" a seminal collection of poetry of witness by the Polish poet Anna Świrszczyńska (1909-1984), a confronting document of Świrszczyńska’s experience as a military nurse and member of the Polish Resistance during the sixty-three days of the 1944 Warsaw Uprising — the Polish underground's resistance to liberate Warsaw from Nazi German occupation. In this original translated edition published by Wydawnictwo Literackie, Kraków, the poems are accompanied by the photography of Jerzy Tomaszewski (1924– 2016), who fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partially damaged) come from a collection which had been lost for over thirty years. Their recent discovery in the 1970s was an important historical and artistic event.
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Anna Świrszczyńska, born in Warsaw, Poland, in 1909, is one of the most significant Polish poets and playwrights of the entire postwar period. She attended Warsaw University where she studied medieval and baroque Polish literature. She began publishing poems in the 1930s. During the Nazi occupation of Poland, Świrszczyńska joined the Polish Resistance and was a military nurse during the Warsaw Uprising. Anna Świrszczyńska died in Krakow of cancer in 1984.
Translations by Magnus J. Krynski, Professor of Slavic Literatures at Duke University and author of many essays on contemporary Polish literature, and Robert A. Maguire, Professor of Russian Literature at Columbia University.
Anna Swirszczynska is one of the most significant Polish poets and playwrights of the entire postwar period. Among the works that gained her this position are the volumes of poetry Wind, I Am Female, Happy as a Dog's Tail and the plays Gunfire on Dluga Street and Conversation with My Own Foot. The first of these plays is set in Nazi occupied Warsaw while the second takes up the theme of a potentital nuclear destruction of the world.
Magnus J. Krynski, Professor of Slavic
Literatures at Duke University, is the author of many essays on contemporary Polish literature. Robert A. Maguire is Professor of Russian Literature at Columbia University.
His books include Red Virgin Soil and Gogol from the Twentieth Century. Krynski and Maguire are the translators of a selection of Tadeusz Rózewicz's poetry, The Survivor and Other Poems, published by Princeton University Press. Their translations were most favourably received by critics. At present they are preparing a volume of Wislawa Szymborska's poems in English.
Jerzy Tomaszewski fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partialy damaged) come from a collection which had been lost for over thirty thirty years. Their recent discovery was an important historical and artistic event.
Building the Barricade - Anna Świrszczyńska - translated by Piotr Florczyk - Introduction by Eavan Boland
$20.00 - ISBN 978-1-945680-68-7
Building the Barricade, a volume of poems by the Polish poet Anna Świrszczyńska (1909-1984), is a seminal collection of poetry of witness. Divided into three sections, the poems document Świrszczyńska’s experience as a military nurse during the sixty-three days of the 1944 Warsaw Uprising.
In a statement regarding the publication of Building the Barricade Świrszczyńska wrote: “Life in Warsaw during the Uprising was a nightmare. The city was deprived of water, electricity, gas, and food supplies. For the most part, the sewer system did not function; the hospitals had no medicines or clean water. Day and night German bombers raged over the capital, burying the living beneath the rubble.”
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Very Good copy in G—VG dust jacket with some edge wear esp to spine corners, preserved under archival mylar wrap.
1985, English
Softcover (w. paste-ins), 224 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$120.00 - In stock -
"A chrestomathy of dicey enchantments.'—CITY LIMITS
Now rare, long out-of-print 1985 Atlas Anthology 3, edited by Alastair Brotchie & Malcolm Green. "Benign Pollution, Enthused Writing". The third production from the legendary Atlas Press, the third general anthology and the first book to be actually typeset (a very expensive business in those days).
Features: Hans Carl Artmann, Pierre Albert-Birot, Wolfgang Bauer, Konrad Bayer, Pierre Bettencourt, Peter Blegvad, Andre Breton, Jean-Pierre Brisset, Günter Brus, René Crevel, David Gascoyne, Alfred Jarry, James Kirkup, Karl Kraus, Jean Lorrain, Harry Mathews, Gustave Meyrink, Pier Paolo Pasolini, Georges Perec, Benjamin Peret, Oskar Panizza, Raymond Queneau, Jacques Rigaut, Herbert Rosendorfer, Raymond Roussel, Paul Scheerbart, Mathew Phipps Shiel, Kurt Schwitters, Boris Vian, Austryn Wainhouse, Robert Walser, Unica Zürn, Etcetera Etc.
"Here is a prose based on Romanticism, in this century focused around the early Expressionism and the Surrealist movement. It is a literature of unusual beauty and bitter humour, political (in the widest sense), it asserts a complete freedom of form and content. Neither 'cool', restrained nor boring! An important collection of unjustly neglected authors, past and present, which includes many who are seldom translated into English."
Highest recommendation.
Good—Very Good copy complete with all the paste-ins. General wear and tanning.
1996, Englis / French
Softcover, 176 pages, 21.5 x 13.5 cm
1st Edition, Out of print title / used / fine
Published by
Anvil Press Poetry / London
$30.00 - Out of stock
Out-of-print 1976 Anvil Press Poetry collection of poetry by Guillaume Apollinaire (1880—1918), one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and forefather of Surrealism. In bi-lingual French-English.
Apollinaire's poetry reflects the heady years of artistic and intellectual ferment before the First World War. The most dynamic modernist French poet, he is remembered as much for his more traditional lyric poems as for the typographical experiments of his 'calligrammes'. Apollinaire championed the Cubist painters, and his poetry is a literary counterpart to their innovative work. Subtle and complex, yet often direct, his poetry is still fresh, sharp and memorable.
Oliver Bernard's selection provides a representative cross-section of his poetry, while concentrating on his most famous collection, Alcools (1913). This is a revised and expanded edition of his 1965 Penguin selection, of which Edward Lucie-Smith wrote, "If the value of really inspired translation needs any stressing, Oliver Bernard's Apollinaire is there to prove the case. The French poet and his English interpreter are wonderfully well-matched." Christopher Ricks commented in the New Statesman that "Oliver Bernard's translations from Apollinaire are immediately engaging in their vividness and humour."
GUILLAUME APOLLINAIRE was born in Rome in 1880. Educated in Monaco and Nice, he became a French citizen only in 1916, after service in the artillery and infantry. He was badly wounded in the head in 1916, and died during the Paris flu epidemic in 1918. As prose writer and art critic as well as poet, Apollinaire was the moving spirit of French modernism.
OLIVER BERNARD has published three collections of poetry, most recently Poems (Samizdat, 1983) and Five Peace Poems (Five Seasons Press, 1985). His edition of Rimbaud's poetry is published by Penguin. He has lived in Norfolk for the past twenty years.
Fine copy.
1984, English
Softcover (staple-bound), 100 pages, 22 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Bard College / New York
$35.00 - In stock -
Rare 1984 issue of the small press photocopied contemporary music magazine issued by the Music Department of Bard College, edited by Sarah Johnson. Each issue with wraparound covers listing a calendar of events (films, concerts, theatre), the contents packed with essays, transcribed lectures, conversations, historical articles, record reviews, reading lists, compositions, visual scores, text art, sound poetry, and various artworks, facsimiles and reproductions.
G—VG copy with general tanning, wear and foxing.
1984, English
Softcover (staple-bound), 100 pages, 22 x 18 cm
1st Edition, Out of print title / used / very good
Published by
Bard College / New York
$35.00 - In stock -
Rare 1984 issue of the small press photocopied contemporary music magazine issued by the Music Department of Bard College, edited by Sarah Johnson. Each issue with wraparound covers listing a calendar of events (films, concerts, theatre), the contents packed with essays, transcribed lectures, conversations, historical articles, record reviews, reading lists, compositions, visual scores, text art, sound poetry, and various artworks, facsimiles and reproductions.
VG copy with general tanning, wear and foxing.
1992, English
Softcover (loose-leaf w. paperclip), unpaginated, 23 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Mercurial Editions
Elwood
$55.00 - In stock -
Rare first edition of Australian text artist and performer Berni Janssen's 1992 work, Mangon, published by Mercurial Editions in Elwood, Melbourne, a private press "specialising in publishing new work which explores, poetic form, imaginal philosophy and psychology and non realist approaches to art and image." Edition of only 250 copies, hand-bound with a single large paper-clip. In 1992, the publication was launched with speaking voice and found object sounds in collaboration with experimental composer Warren Burt.
"One of Australia’s treasures, berni janssen, a pioneering sound poet, is fully focused on the auditory as a means of experiencing the world. The voice of berni is loud and clear. She takes us with her into the auditory world as it is changing and asks us to reconsider "the strange echo chamber we live in."—Dr Ros Bandt, International Environmental Sound Artist
Berni Janssen is a text artist who works with words in all their forms, printed, spoken, performed. She has a collaborative multidisciplinary practice spanning over thirty-five years, working with composers, performers, visual artists and community members to make word inspired art. She is renowned for her evocative and captivating performances. Her publications include Possessives and Plurals (Fillia Press. 1985); Xstatic (Post Neo. 1988); mangon (Mercurial Editions. 1992) and Lake & Vale (PressPress. 2010). Poems have been published in magazines including Cordite, Heat, Meanjin, Overland, Extra and performed on radio and at festivals around the world. She lives in Dja Dja Wurrung Country in the Central Highlands of Victoria.
Good copy with rusted paper-clip, rubbing to frot cover, wear to extremities.
2013, English
Softcover, 20 pages, 24 x 15.5 cm
Hand numbered edition of 70,
1st Edition, Out of print title / as new
Published by
Kowhai Press / Christchurch
$200.00 - In stock -
Gorgeous and exceptionally rare limited edition, letter-pressed collection of lyrics by New Zealand musician Peter Stapleton (1954–2020) of The Terminals, Vacuum, The Pin Group, Dadamah, Flies Inside the Sun, Eye, and Scorched Earth Policy. Hand-set and hand-printed nocturnally on an Albion press by Peter Vangioni at the Kowhai Press, St Albans, Christchurch, N.Z., during the autumn and winter months of 2013. Monoprint frontispiece by New Zealand artist Jason Greig. Faux leather card covers, metallic print and thread-bound.
Collects the lyrics spanning the record releases of the Terminals, plus Vacuum, Victor Dimisich Band, Dadamah, etc. (Flying Nun, Siltbreeze, Xpressway, Majora, Raffmond...), plus previously unpublished lyrics.
Printed in an edition of 70 of which this is no. 29. Hand-numbered.
Perfect copy. As New.
1974, English
Softcover (staple-bound), 72 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
The Ear in a Wheatfield / North Fitzroy
$160.00 - In stock -
Very rare copy of The Ear in a Wheatfield - Earth Ship, second series No. 5, February 1974, edited by English-Australian poet Kris Hemensley and hand-printed by Retta Hemensley on the Hemensley-Reneo in North Fitzroy, Victoria. An important Australian small-press literary journal published by Hemensley between 1973—1976, The Ear was a vital mouthpiece for experimental poetry, bringing together international contributors (featuring many UK friends associated with Ambit, Grosseteste Review, Bananas, Curtains, and the American L=A=N=G=U=A=G=E poets, etc), with writers in Australia operating outside the mainstream. This issue is packed with contributions by Geoff Bowman, Abigail Mozley, Colin Symes, John Millett, Larry Eigner, Trevor Reeves, Michael Palmer, John Thorpe, Maria Gitin, John Riley, Bill Fell, Franco Beltrametti, Roger McDonald, Jennifer Maiden; correspondence: James Koller, Jas Duke, a report on "New Poetry in New Zealand" by Trevor Reeves, new book and magazine reviews (from Paul Buck's Curtains to Vicki Viidikas' Condition Red), plus special review section of Japanese poetry titles, and much more, all processed typescript by Hemensley and stapled.
Kris Hemensley (b. 1946) is an English-Australian poet who has published around 20 collections of poetry. Through the late 1960s and '70s he was involved in poetry workshops at La Mama, and edited the literary magazines Our Glass, The Ear in a Wheatfield, and others. The Ear played an important role in providing a place where poets writing outside what was then the mainstream could publish their work. In 1969 and 1970 he presented the program Kris Hemensley's Melbourne on ABC Radio. In the 1970s he was poetry editor for Meanjin. He and Retta Hemensley ran the Collected Works Bookshop in the Nicholas Building, Melbourne, until 2018.
Very Good well-preserved copy, light age/tanning, uncreased margin.
1975, English
Softcover (staple-bound), 36 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
The Ear in a Wheatfield / North Fitzroy
$150.00 - In stock -
Very rare copy of The Ear in a Wheatfield No. 16, September 1975 ("In Place of The Place Issue"), edited by English-Australian poet Kris Hemensley and hand-printed by Retta Hemensley on the Hemensley-Reneo in North Fitzroy, Victoria. An important Australian small-press literary journal published by Hemensley (who moved to Kris Hemensley moved to Australia from the UK in the mid-1960s) between 1973—1976, The Ear was a vital mouthpiece for experimental poetry, bringing together international contributors (featuring many UK friends associated with Ambit, Grosseteste Review, Bananas, Curtains, and the American L=A=N=G=U=A=G=E poets, etc), with writers in Australia operating outside the mainstream. This issue is packed with contributions by Tim Burns, Paul Buck, Glenda George, Karl Leuengruber, Bill Beard, Kris Hemensley, Philip Garrison, Ken Taylor, John Scott, Jennifer Maiden, Rosemarie Waldrop, John Trantor, Frank Hogan, Chris Aulich, plus Memos by Hemensley and Walter Billeter, and more, all processed typescript by Hemensley and stapled.
Kris Hemensley (b. 1946) is an English-Australian poet who has published around 20 collections of poetry. Through the late 1960s and '70s he was involved in poetry workshops at La Mama, and edited the literary magazines Our Glass, The Ear in a Wheatfield, and others. The Ear played an important role in providing a place where poets writing outside what was then the mainstream could publish their work. In 1969 and 1970 he presented the program Kris Hemensley's Melbourne on ABC Radio. In the 1970s he was poetry editor for Meanjin. He and Retta Hemensley ran the Collected Works Bookshop in the Nicholas Building, Melbourne, until 2018.
Very Good well-preserved copy, light age/tanning, uncreased margin.
2025, English
Softcover, 80 pages, 21 x 14.8 cm
Published by
Pilot Press / London
$25.00 - In stock -
Light Film explores the cinema of heartache. Thorough in its quest for drama, this collection of poems threads a personal narrative through kaleidoscoping imagery, in turns erotic, violent, and contemplative. Performing a shifting subject position, the speaker of this book finds humour, shelter, and emotional truth in fantasy, even as reality collapses into his desires.
Sholto Buck is a poet and artist living in Melbourne, Australia. He has been commissioned to write poems for the National Gallery of Victoria, and for 'Derek Jarman: Delphinium Days', at Gus Fisher Gallery, Auckland, and UNSW Gallery, Sydney. His first book, In the printed version of heaven, was published by Rabbit in 2023.
“This is a collection of curves and boots, horny and isolated, in rain and bittersweet love with loneliness and lust, articulated through a series of ekphrastic-ish lyrics enamored with the parts of bodies on film. Jarman, O'Hara, and Wieners exert a strong influence, filtered through smartphone snapshots of queer life and longing: witty, tender, and engaging.” — Joshua Jones
“"The landscape / walked / a red / spiral of green / through me" as the poems in this book have passed through me, leaving me dizzy. Light Film is a great collection of poems: moving, curious, thoughtful – it's a film festival of poems.” — Ben Estes
“You will see Sholto Buck's Light Film being held by a romantic taking the subway. . . What is this book but a screen for holding images of tenderness, signifying a safe harbor for the kiss you imagine?”— Eric Sneathen
2017, English
Paperback, 128 pages, 17 x 25 cm
Published by
Bergen Kunsthall / Norway
Dancing Fox Press
$65.00 - Out of stock
This latest book by New York–based artist Moyra Davey is based on two related projects, Les Goddesses (2011) and Hemlock Forest (2016), which each take form through text, photography, and film. Layering introspection and personal narratives with meditations on the lives and works of other writers, filmmakers, and artists—ranging from 18th-century feminist writer and activist Mary Wollstonecraft to Chantal Akerman, Karl Ove Knausgård, and Davey’s own five sisters—the artist explores such themes as compulsion, artistic production, family, and life and its passing.
Edited by Karen Kelly and Barbara Schroeder.
Texts by Moyra Davey and an introduction by Aveek Sen.
Design by Filiep Tacq.
1991, English
Softcover, 200 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
University of Melbourne / Parkville
$15.00 - In stock -
Excellent issue of Meanjin, Volume 50 No. 1. 1991 Autumn, "Return to OZ. Language Poetry. New Fiction.", edited by Jenny Lee, Philip Mead, Gerald Murnane, John Bangsund, Sigi Curnow, and featuring the work of Graeme Turner, Meaghan Morris, Chris Wallace-Crabbe, Bob Connell, Michael Greer, Sigi Curnow, Bruce Andrews, Charles Bernstein, Alex Calder, Syd Clayton, Wystan Curnow, Lyn Hejinian, Berni Janssen, Michelle Leggott, Chris Mann, Barrett Watten, Margaret Betts, Betty Birskys, Sally Nicholls, Madeleine O'Dea, Ben O'Toole, Anthony Uhlmann, Victor Vella, Ngũgĩ wa Thiong'o, Don Anderson, Putu Davies, Joel Kahn, McKenzie Wark.
VG copy.
2024, English
Softcover, 112 pages, 23.5 x 14.61 cm
Published by
Wave / Washington
$38.00 - In stock -
Following their book AMANDA PARADISE: Resurrect Extinct Vibration (winner of the PEN and the Ruth Lilly Prize for Poetry), CAConrad's Listen to the Golden Boomerang Return shifts its attention from the previous book’s focus on communing with animals who are extinct toward communicating and caring for animals still living among us.
Recalling the historical and symbolic significance of the boomerang as an instrument of return, these poems emerged from a (soma)tic poetry ritual in which the author wrote with animals who have found ways to thrive in the Anthropocene, resulting in sculptural poems that are uninhibited and mysterious as they emerge organically from the bottom of each page. Guided by the urge “to/desire/the world/as it is/not as/it was,” CAConrad writes from an ecopoetics that is generous and galvanizing, reminding us of how our present attentions collectively shape a future humanity.