Rehearsal — Tenement Press

Rehearsal

_{An ongoing & growing collation
of original (& borrowed) digital ephemera.}

_{20.

MIDSUMMER SONG

Maria Sledmere

(A poem on/after the summer solstice, MMXXI)

19.
I. ON THE IMMORTALITY OF THE SOUL

II. WAR & PEACE

III. THE FLAME OF AN IDEA
Jorge Yglesias

Translated from the Spanish

by Peter Bush

(Three short stories.)

18.

Pillar Mister (MMXXIII)

Maarten Slof & Sam Wilson Fletcher

(Notes on Simeon Stylites.)

17.
HORSE HOROSCOPES

On the Passage of Michèle Bernstein through Time /

Michèle Bernstein has Forgotten to Die

Clodagh Kinsella

(A film / a text.)

16.
VOLCANO

Bojan Louis

(A short story.)

15.
TO P.P.P. IN NO PLACE

Elsa Morante

Translated from the Italian

by Cristina Viti

(A poem.)

14.
Another Side / The Other Side

Astrid Alben & F. van Dixhoorn

(A memoir of a text in translation.)

13.
Notes for / After / on a Tech Week /

in which a play is broken apart

Micaela Brinsley

(A broken script.)

12.

Daughter of Marxism / Here Not / Three for Antonioni

Jess Cotton

(Poems.)

11.

LA CALIMA

Siri Katinka Valdez

(A short story.)

10.

(elegant toplessness stoned in stairwell)

Wayne Koestenbaum

(A poem & a piano.)

9.

Citizen(s) of the Twentieth Century

Lucy Sante & Jon Auman

(A conversation.)

8.
Lodging & Dislodging the Little Magazine
Sophie Seita & Danny Snelson

(A Google Document.)

7.
Goodnight the pleasure was ours
David Grubbs

(An excerpt.)

6.
Scenarios of the Imminent Future
Jorge Carrion

Translated from the Spanish

by Peter Bush

(An essay.)

5.
Hindsight is 20/20
Lynne Sachs

(Poems.)

4.
A Scandal of Meekness
(after Pier Paolo Pasolini)
Cristina Viti

(A poem.)

3.
Nattsong / Excerpts
Caroline Bergvall

(Poems.)

2.
Tell it in Breaking England /
On Derek Jarman’s Persistence of Vision
Gareth Evans

(An afterword / or aside.)}

_{1.
Jonas in Rough
Jonas Mekas & Jon Auman

(A conversation.)}

^{We are committed to the idea that study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held under the name of speculative practice. The notion of a rehearsal—being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory—there are these various modes of activity. The point of calling it “study” is to mark that the incessant and irreversible intellectuality of these activities is already present.}

^{Fred Moten & Stefano Harney
The Undercommons (2013)}

^{ALWAYS OPEN FOR SUBMISSIONS}_{An eternal open season.

Rehearsal undertakes to rethink the social, collective, and collaborative nature of study via work that opens itself to its reader; that is not bound by conditions of reception or use; that persists in the activities of reading, listening, thinking, talking, playing. Rehearsal publishes work amenable to lunch-hour consumption, work which leads a reader away from the dedicated performances of any working day.

In the context of the university, this invites specific acts of creative abandonment and new forms of collaboration: what could scholarly inquiry be when we ditched any commitment to critique? What forms could intellectual work take when we relinquish institutional allegiances? Most of all, how could our intellectual cultures evolve when the porch, the factory, the barroom, the breakfast table became discursive and collaborative contexts that supplement—or displace—the seminar room?

We invite submissions which respond to these ideas and inducements in any way and any form while corresponding to the terms of the rubric below. To emphasise the social, collective, and committee-spirited nature of Rehearsal, we prefer that submissions should gesture to their incompleteness or suggestiveness rather than declare finality or unassailability. Sketches and fragments, imperfect morsels of ideas in development, works in progress, and works set aside or discontinued because seemingly unworkable are particularly encouraged.}

Neccessaries & Particulars

_{Text work of (up to) 3000 words / six poems (& accompanying images or illustrations), texts should be sent on in both Word & PDF formats; links to any visual and/or sonic documentation of work(s) via WeTransfer or Dropbox; a brief biographic note.}

_{Please address all materials (and general enquiries)

for the attention of the editor Benjamin Pickford.

benjamin.pickford@no-university-press.com

cc. editors@tenementpress.com}