New Book is the title of a new poem composed of three existing poems re-edited by Simone Forti. As reading this poem, one moves forward with wonder amid everyday memories, recollections of life, a sense of civic duty, glimpses of a precarious world, the beauty of nature, melancholy, a rage to live.

American dancer and choreographer Simone Forti has been a leading figure in the development of contemporary performance over more than fifty years. Investigating the relationship between object and body, through animal studies, news animations and land portraits, she reconfigured the concept of performance and dance.

Printed and bound in an edition of 500 by Aaron Flint Jamison and Emily Johnson at Yale Union on the occasion of TOM TIT TOT, October 5-December 6, 2013, curated by Andrea Anderson and Robert Snowden. Typeset in Times New Roman by Susan Howe. Cover typeset in Caslon by Emily Johnson and Scott Ponik.

Apart from her poetry, Susan Howe is the author of two landmark books of literary criticism, My Emily Dickinson and The Birth-mark: Unsettling the Wilderness in American Literary History, and three records with David Grubbs.

*Please note this publication is secondhand and has some traces of previous ownership.

Recorded documentation of a reading that took place in Berlin in April 2021. Jimmie Durham reads from his books Columbus Day 1983, Poems That Do Not Go Together 2012, and Particle/Word Theory 2020, as well as other, unpublished poems. The record includes an accompanying booklet with drawings by Jimmie Durham and a text by the poet Ammiel Alcalay, who locates Durham’s poetry in American literature.

Jimmie Durham was an artist, poet, essayist and political activist. In 2019 he was awarded the Golden Lion for his life’s work at the Venice Biennale.

American poet Norman H. Pritchard’s second and final book, EECCHHOOEESS was originally published in 1971 by New York University Press. Pritchard’s writing is visually and typographically unconventional. His methodical arrangements of letters and words disrupt optical flows and lexical cohesion, modulating the speeds of reading and looking by splitting, spacing and splicing linguistic objects. His manipulation of text and codex resembles that of concrete poetry and conceptual writing, traditions from which literary history has mostly excluded him. Pritchard also worked with sound, and his dynamic readings—documented, among few other places, on the album New Jazz Poets (Folkways Records, 1967)—make themselves heard on the page.

Gerard Stigter (6 November 1936–12 August 2021), known by the pseudonym K. Schippers, was a Dutch poet, prose writer and art critic. Credited with having introduced the readymade as a poetic form, his work is dedicated to looking at everyday objects and events in a new way.

The Matrix by Norman H. Pritchard (1939–1996) gathers a selection of the Concrete and Black Arts poet’s work from 1960 to 1970. The seventy-one poems collected here might be regarded, as Charles Bernstein has written, as “sound” poems, being tethered not only to the literature of the Black Arts Movement but also to jazz culture and urban life in New York. Drawing as much from the visual arts and concrete poetry as from sound-based experimentation and music, Pritchard utilized the simple tools of spacing and typography to create syncopations, vibrations, and musical rhythms. What emerges is nothing less than a self-contained system of mimetic codes that challenge modernist modes of perception and representation. Formally innovative and anticipating what Michael Riffaterre would come to call the semiotics of “ungrammaticalities,” the book is a syntactical and visual experience in repetition, stutters, and structure.