Bøger udgivet af Ugly Duckling Presse

Scores for loop pedal, book projects that exploit print, and critical theory...a decade of Holly Melgard.Read Me: Selected Works features a representative selection of Holly Melgard's formally experimental poetic works produced between 2008 and 2018, including scores for loop pedal, book projects that exploit print on demand, and critical talks that theorize core themes of Melgard's work.Poetry. Hybrid. Literary Criticism. Art. Women's Studies

The title of this book evokes the "other" September 11: Chile's September 11, 1973, when Augusto Pinochet led a military coup to oust the democratically elected government of Salvador Allende and inaugurated a brutal 17-year dictatorship. Assembled from found material such as declassified documents, testimonies, interviews, and media files, 11 immerses readers in the State-sponsored terror during this period and the effects it would continue to have on Chile. The poetry in this book adopts the form of collage, erasure, and appropriation, the language emerging from censorship and suffocation as experienced under military rule. Soto-Román's work asks us to understand the past through what has been covered up, to reflect on the spoken and unspoken pieces that interact to create a collective memory. How does censorship translate into another language when translation already involves so many degrees of selective removal? This collaborative version into English, taken on by eight translators, attempts to answer that question and provide a means to reflect on the relationship between writing, trauma, and politics.Contributors include Daniel Borzutzky, Alexis Almeida, Patrick Greaney, Daniel Beauregard, Robin Myers, J'ssica Pujol Duran, Whitney DeVosPoetry. Hybrid. Latinx Studies. Translation.

Poetry. LIBERAMERICA's world is one full of ancestors and other creatures, a liminal space between languages, life and death, male and female, land and water, body and spirit. A territory of rituals and relations brought into being within the dynamic linguistic multiverse for which Monchoachi is best known. LIBERAMERICA is an archipelago of throats powering a flood of voices, sonically saturating and bursting through limitations of standard language. LIBERAMERICA is an excerpt from part one of Monchoachi's two-volume collection, LÃ(c)mistè (Partition noire et bleue) ['Mistry (Black and Blue Partition)].

Queer Iranian love poems from an expat writer in Italy.Drawing extensively on Iranian poetic traditions and the history of their reception in English translation, Feast of the Ass presents a series of verses that play in the fields of love poetry's address. Khajavi irreverently ruffles the "classical grandeur & quiet dignity" of inherited forms in order to consider the poet's relationship to death, literature, race, religion, and sexuality, his "queer shoulder / set not to the wheel--so long, Solon!--but turned on to some bolder / axon."Poetry. Middle Eastern Studies.

LUNDUZINHO threads the complexities of the formation of Brazil and the uncapturable African ancestrality of lundu.Part of the South American Series, Senal.The title of this chapbook comes from lundu, an iteration of music and dance brought to what is now Brazil by enslaved Bantu people. LUNDUZINHO is a selection of poems from tatiana nascimento's full-length Lundu (published in Brazil in 2016). Through her elaborate syntax, bending and breaking standard Brazilian Portuguese, nascimento threads the complexities of the formation of Brazil and the uncapturable African ancestrality of lundu. She creates neologisms and uses elements of Pretugu's (Black Portuguese), Spanish, English, pajubá (an Afro, Indigenous, Cuír Brazilian dialect), and Afro-Brazilian cosmologies to conjure poetry that is deeply rhythmical, spiritual and ancestral. lunduzinho presents us with the contradictions of big urban centers and how Black, queer bodies move across those landscapes. A sea of transnational, Afro-diasporic, sexual dissident affection in the ebb and flow between original and translation, and all the tongues in between.Poetry. Translation.

Poetry. Translated from the Swedish by Jennifer Hayashida. "I try to not keep them entirely still/ just get them (the words) to crowd around something/ special (a theme) an idea that has such/ weight that it/ at least partially/ can replace a person's (your) glance/ when it turns away (and from me)"--from the text. A DIFFERENT PRACTICE is Jennifer Hayashida's translation of Swedish poet Fredrik Nyberg's influential book En annorlunda praktik, containing the five original sections "Rotor blades, movements 1-5," "Pets--the private," "You...," "Shall these hands," and "The Years." Showing the influences of Ashbery, Roubaud, and Susan Howe, Nyberg's quiet but forceful poems contend with the difficulties of using poetry as a form of remembrance. Through the transcription of memory, the collection creates its own fluid, mysterious, and startlingly intimate sense of time. Fredrik Nyberg, born in 1968, currently living in Gothenburg, Sweden, attended the creative writing program at the University of Gothenburg, an institution which has fostered some of the country's better-known writers, and has since become an established force in new forms of poetic expression there.

Translated by Elisa Taber. In DREAM PATTERING SOLES a voice mournfully asserts "I appear" and the world begins. Miguelángel Meza's words are signifiers without hierarchy within the lyric structure that reference the cosmological Mbyá Guaraní narratives. Thus, the origin of earth is traced to the utterance of the first ñe'ë, or word-soul. Meza's authorial style and references to a millenary Amerindian culture jointly point to another way of conceiving the world. The counterintuitive way that he renders the individual out of the communal is reminiscent of the Paraguayan embroidery technique, ñandutí, which means spider's web. Threads extracted from, rather than woven into, a fabric trace a geometric pattern. He imitates this practice by claiming authorship through his lyric synthesis of a communal narrative. The poet seems to say through those that came before him: identity lies in erasure, not mark-making.Poetry.

BEHIND THE TREE BACKS investigates a poetics of remembrance, excavating war and displacement through a constellation of animate memories carved out of deep pleasure as well as brutality, the ancient and the institutional, the everyday and the geopolitical.Translated by Jennifer Hayashida. BEHIND THE TREE BACKS investigates a poetics of remembrance through senses that hover just below and just above the skin. The text excavates war and displacement through a constellation of animate memories carved out of deep pleasure as well as brutality, the ancient and the institutional, the everyday and the geopolitical. The book insists on a poetics that recall through vibrating auratic fields, violence, love, and sexuality; these sensations tremble and cohere in a musical and tightly composed lyric.Poetry.

Across a series of sixty-four poems, each titled with the eponymous refrain, I WANT SOMETHING OTHER THAN TIME worries the problem of self-identicality--the distance between the self and the self that recognizes the self--into the socio-political sphere as a problem of temporality, as the work of our shared subjects in perceiving and projecting pasts, futures, presents.Poetry.

Poetry. In FORGET THEE, Dreiblatt's first full-length book of poetry, an anonymous narrator ruminates on the end of the world, while conversing with various historic and literary figures from the ancient Mediterranean and Mesopotamian worlds. Going behind writing to start language afresh, they observe together how often worlds end; how language is the register in time of our answerability to each other; how writing, sociality, play, violence, and transcendence flow together into the vexed semi-coherence we have come to call culture.

Literary Nonfiction. Film. Essay. Jean Eustache came of age as a director in the aftermath of the French New Wave, and made La maman et la putain (The Mother and the Whore) already disillusioned by the events of May '68. Several years after the film's 1973 release, he committed suicide. Matt Longabucco's book-length essay reckons with Eustache's document of political bitterness and romantic catastrophe from the standpoint of our own vexed present in which the unfulfilled legacies of the Left and the sexual revolution still haunt our hopes and darken our horizons.