
︎ (A blog called) Rehearsal
︎ Railroad Flat Radio
Tenement Press, cousin to a magazine called Hotel (see here), is an occasional publisher of esoteric, accidental, and interdisciplinary literatures. Series edited by Dominic J. Jaeckle (see here) and designed by Traven T. Croves (see here).

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FROM THE TENEMENT
WHEELHOUSE ...
UPCOMING EVENTS & BROADCASTS ...
MMXXIII
22/11
Stanley Schtinter, Last Movies
(A book launch & screening.)
The Institute of Contemporary Arts
London
bit.ly/3LrhpPE
18/11
A launch for Seven Rooms;
A late-afternoon & evening ...
With Sophie Seita,
Lauren de Sá Naylor,
Hannah Regel,
Stanley Schtinter,
Stephen Watts,
Imogen Cassels,
SJ Fowler,
Jess Cotton,
Edwina Attlee,
Will Eaves,
Helen Cammock,
Cristina Viti,
Wayne Koestenbaum,
Lucy Sante,
Nicolette Polek,
and Paul Buck
[hosted by Gareth Evans]
Presse Books & FormaHQ,
London
bit.ly/46J18hD

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support the Press
& order a shirt here ...
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TO KEEP OUR ENGINE RUNNING ...

ROLLING NEWS ...
28/11/23
FROM KURT TO ELVIS, JFK & MORE ...
Ryan Gilbey on Stanley Schtinter’s
LAST MOVIES in The Guardian

Last Movies shakes up the orthodoxy in its own way. “I think it’s important to abandon the criteria by which we organise history,” Schtinter says. “As it stands, it’s not working. What we end up with is this biased history leaning heavily toward James Bond: chauvinism, expensive food, the killing of foreigners. It’s kind of how JFK got to power in a weird way. He wanted to position himself as a serious literary guy but he also needed this strongman element on the side.”
The likelihood is that Kennedy’s last movie was From Russia With Love, but he isn’t the only Bond fan in the book. Elvis Presley hired out a Memphis cinema to screen The Spy Who Loved Me in the weeks before the end credits rolled in his own life. From this starting point, the Presley chapter spirals off into a survey of the King’s eating habits, from the squirrels he devoured as a youth to the hamburgers, Pepsi-soaked Sweet Tarts and deep-fried peanut butter and banana sandwiches that hastened his exit. That leads on to a playlist of food-related songs in the singer’s discography, including It’s Carnival Time, taken from Presley’s 1964 film Roustabout, which featured a small role for Richard Kiel, who went on to play the metal-toothed baddie in … yes, The Spy Who Loved Me. Wade more than a dozen pages into Last Movies and these connections start to reveal themselves like constellations on a cloudless night.

ORDER A COPY OF THE BOOK HERE
27/11/23
DEATH IS REAL ...
Dolors Miquel’s
EL GUANT DE PLÀSTIC ROSA / THE PINK PLASTIC GLOVE
in CATALONIA TODAY
SEE HERE

The 36 intense, fierce poems about death, grief, and beauty are connected. In her prologue, a prose-poem in itself, Miquel tells how the death of others close to her left her "a flower without roots" (p.17). She dwelt in "the belly of death" herself. Then she started to cry. "Weeping rents the air. To weep is to come out of the bier" (p. 17). Death and decay, and the fight for life, pervade the book.
[...]
Death dominates with humour (the Psychiatrist for the Dead; a collection service for corpses), inquiry (poems on rubbing and scrubbing and kissing the dead), lyricism (a crow with a worm in its mouth), but most of all with rage. Miquel moves out from her own fight to survive to a poem listing animals made extinct or another recalling the massacres of Cathars and at Nagasaki.
[...]
[Miquel] loves distorting language, finding double meanings. This makes translation a tough task, but Peter Bush succeeds by translating loosely where necessary, prioritising rhythm and word-play over literal meaning.
It's a challenging book, but worth the effort.

23/11/23
Went to the cinema. Wept.
Matchless entertainment.
Juliet Jacques on Stanley Schtinter’s
Tenement title (and ongoing programme at London’s ICA)
Last Movies in ArtReview.
Cinema, the quintessential twentieth-century artform, which became integral to the era’s politics and culture soon after its first demonstration in 1895, has an inherently haunting quality. The obvious reason for this—surely apparent to the Lumière brothers as they captured workers leaving the factory—is its ability to preserve not just the features but also movements and eventually the voices of people for posterity, with more accuracy and less sense of separation from the subject than the earlier method of photography or portrait painting. (Nearly a 100 years since the advent of ‘talkies,' silent film has this eerie property in extremis: long-since deceased actors express and gesticulate in antiquated fashions; different frame-per-minute rates sometimes render their movement strange; and the decay of its stock produces a ghostly effect, making it of interest to contemporary archive-filmmakers such as Karel Doing and Bill Morrison.)
In Last Movies, artist-curator Stanley Schtinter turns the idea, that film captures the dead and turns them into ghosts, on its head. Rather than focus on deceased people onscreen, he finds out (or, occasionally, makes an informed guess at) what was the last film that various important twentieth-century political and cultural figures had watched, bringing together a potted history of the medium itself.
[...]
15/11/23
A Launch for SEVEN ROOMS,
Saturday, 18/11/23 : 16:00 (& on)
An afternoon & evening
of readings & screenings ...
RSVP HERE
Presse Books & Forma HQ
140 Great Dover Street
London, SE1 4GW
£5 (on the door)
![]()
ORDER A COPY OF THE BOOK HERE
Seven Rooms is a collaborative anthology project from Tenement Press and Prototype Publishing that assembles work(s) and material(s) from across the Hotel series.
Hotel was a short-lived independent anthology series for experimental literatures in English and first-time English language translation; a magazine, both in print and online, that sought to provide temporary accommodation for otherwise homeless ideas.
Seven years on from the publication of Hotel #1 (2016), and in tribute to the cessation of the “paper hotel” with the publication of Hotel #7 (2021), Seven Rooms anthologises works from across the Hotel series to showcase the project’s unerring commitment to pioneering creativity, literature’s idiosyncrasies, and shared space; to new approaches to fiction, non-fiction, and poetry.
Join us for a special launch event at Presse Books on Saturday 18th November, 16:00 onwards.
The order of things ...
16:30-17:15
Paul Buck
Sophie Seita
SJ Fowler
Hannah Regel
17:45-18:15
Stanley Schtinter,
‘Seven Rooms at the Hotel Bardo’
A screening, ℅ the artist
19:00-20:00
Stephen Watts
Imogen Cassels
Jess Cotton
Edwina Attlee
Will Eaves
20:20-20:40
Helen Cammock, ‘They Call it Idlewild’
A screening, courtesy of the artist
& Kate Mcgarry Gallery, London
21:00
Cristina Viti
Lauren de Sá Naylor
Wayne Koestenbaum
Pre-recorded
Nicolette Polek
Pre-recorded
Lucy Sante
Pre-recorded
Stephen Watts
Hosted by Gareth Evans
•
Exit Music, ℅ Will René
(choice cuts from Plastic Language, NTS)
RSVP HERE
Saturday, 18/11/23 : 16:00 (& on)
An afternoon & evening
of readings & screenings ...
RSVP HERE
Presse Books & Forma HQ
140 Great Dover Street
London, SE1 4GW
£5 (on the door)

ORDER A COPY OF THE BOOK HERE
Seven Rooms is a collaborative anthology project from Tenement Press and Prototype Publishing that assembles work(s) and material(s) from across the Hotel series.
Hotel was a short-lived independent anthology series for experimental literatures in English and first-time English language translation; a magazine, both in print and online, that sought to provide temporary accommodation for otherwise homeless ideas.
Seven years on from the publication of Hotel #1 (2016), and in tribute to the cessation of the “paper hotel” with the publication of Hotel #7 (2021), Seven Rooms anthologises works from across the Hotel series to showcase the project’s unerring commitment to pioneering creativity, literature’s idiosyncrasies, and shared space; to new approaches to fiction, non-fiction, and poetry.
Join us for a special launch event at Presse Books on Saturday 18th November, 16:00 onwards.
The order of things ...
16:30-17:15
Paul Buck
Sophie Seita
SJ Fowler
Hannah Regel
17:45-18:15
Stanley Schtinter,
‘Seven Rooms at the Hotel Bardo’
A screening, ℅ the artist
19:00-20:00
Stephen Watts
Imogen Cassels
Jess Cotton
Edwina Attlee
Will Eaves
20:20-20:40
Helen Cammock, ‘They Call it Idlewild’
A screening, courtesy of the artist
& Kate Mcgarry Gallery, London
21:00
Cristina Viti
Lauren de Sá Naylor
Wayne Koestenbaum
Pre-recorded
Nicolette Polek
Pre-recorded
Lucy Sante
Pre-recorded
Stephen Watts
Hosted by Gareth Evans
•
Exit Music, ℅ Will René
(choice cuts from Plastic Language, NTS)
RSVP HERE
05/11/23
Stanley Schtinter’s ‘book of endings,’
LAST MOVIES • OUT NOW ...
All films are haunted, both by the immortal light of the sooner-or-later dead that they curate, and by the filaments of meaning they extrude into unscripted human lives. Last Movies is an unexpectedly revealing catalogue of final interchanges between imminent ghosts and counterpart electric spectres on the screen’s far side. Profound and riveting, Schtinter’s graveyard perspective offers up a rich and startlingly novel view of cinema, angled through cemetery gates before the closing credits. A remarkable accomplishment.
Alan Moore
Very strange, and deeply thought-provoking.
Laura Mulvey
Here is the endgame of endgames. A commendably perverse demonstration of how it is possible for something to be assimilated, by way of rumour and manipulated history, without being experienced.
Iain Sinclair, Sight and Sound
LAST MOVIES • OUT NOW ...
All films are haunted, both by the immortal light of the sooner-or-later dead that they curate, and by the filaments of meaning they extrude into unscripted human lives. Last Movies is an unexpectedly revealing catalogue of final interchanges between imminent ghosts and counterpart electric spectres on the screen’s far side. Profound and riveting, Schtinter’s graveyard perspective offers up a rich and startlingly novel view of cinema, angled through cemetery gates before the closing credits. A remarkable accomplishment.
Alan Moore
Very strange, and deeply thought-provoking.
Laura Mulvey
Here is the endgame of endgames. A commendably perverse demonstration of how it is possible for something to be assimilated, by way of rumour and manipulated history, without being experienced.
Iain Sinclair, Sight and Sound
SEE HERE
Stanley Schtinter’s debut collection, Last Movies, is an alternative account of the first century of cinema according to the films watched by a constellation of its most notable stars shortly before (or at the time of) their deaths. An extensive and exhaustive research project—a holy book of celluloid spiritualism and old canards—Schtinter questions and reconfigures common knowledge to recast the historic column inches of cinema’s mythological hearsay into a thousand-yard stare.

Via a series of interlinked vignettes, here we’ve a book in which Manhattan Melodrama, directed by W.S. Van Dyke and George Cukor, is seen by American gangster John Dillinger, only for him to be gunned down by federal agents upon leaving the cinema. In which George Cukor watches The Graduate, and dies thereafter. In which Bette Davis—given her break by Cukor—watches herself in Waterloo Bridge (the 1940 remake Cukor had been meant to direct), before travelling to France and failing to make it back to Hollywood. In which Rainer Werner Fassbinder watches Bette Davis in Michael Curtiz’s 20,000 Years in Sing Sing, and suffers the stroke that kills him. In which John F. Kennedy watches From Russia with Love at a private ‘casa-blanca’ screening prior to the presidential motorcade reaching Dealey Plaza; in which Burt Topper’s War is Hell exists only in a fifteen-minute cut, considering this is as much as Lee Harvey Oswald would have seen at the Texas Theatre in the wake of JFK’s killing.

Including a foreword from Erika Balsom—an ‘intermission’ by Bill Drummond—and an afterword by Nicole Brenez, Last Movies is a love letter to those that’ve lived (and died) amidst the patina and glow of cinema’s counterpoint to life. Like Hermione Lee ‘at the movies,’ and redolent of the works of Kenneth Anger, Last Movies antagonises the possibility of survival in an age of extremity and extinction only to underline the degree of accident involved in a culture’s relationship with posterity.
Schtinter’s Last Movies lives on in two iterations; in paperback, as the tenth entry in Tenement’s “Yellowjacket” series, and in a limited edition 101 copy run as a special “glow-in-the-dark” hardback (produced in collaboration with purge.xxx). Click through on the covers above to order either edition.

Stanley Schtinter has been described as an ‘artist’ by the Daily Mail and as an ‘exorcist’ by the Daily Star. He recently presented the premiere of his ‘endless’ video-work, ‘The Lock-In,’ at the International Short Film Festival Oberhausen, and exhibited the work as a solo presentation at the Barbican Centre in London during July 2022 (reviewed for The Guardian by Jonathan Jones as ‘an epic film … spellbinding, Warholian’). From May 2021 until May 2022, he presented ‘Important Books (or, Manifestos read by Children)’ at Whitechapel Gallery in London. In 2021, Schtinter published The Liberated Film Club (Tenement Press), an anthology featuring original contributions from John Akomfrah, Dennis Cooper, Laura Mulvey and many others. Schtinter also produces records as purge.xxx with a focus on artist film, collaborating with Trevor Mathison (Black Audio Film Collective), Dirk Schaefer (for Matthias Müller and Peter Tscherkassky), Jocelyn Pook, John Smith, Nkisi, Chris Petit, Bruce Gilbert, and many more. For this work he has been celebrated by The Wire magazine for his ‘disregard for the music industry, self-promotion and prevailing cultural norms’. His moving image works are distributed by Light Cone, Paris. His most recent independently produced film programmes include Pere Portabella (ICA; Whitechapel Gallery; Cafe Oto; and Cambridge University) and John Smith (ICA; Close-Up Film Centre). Schtinter is currently finishing his first feature film, starring Julie Christie and Toby Jones. Last Movies (Tenement Press) is his first authored work.
19/10/23
SEVEN ROOMS • OUT NOW ...
A collaborative publication from
Tenement Press & Prototype Publishing,
assembling selected materials from
a magazine called Hotel ...
‘A hotel is defined by its inhabitants,’ runs Hotel’s tagline. If Hotel itself were a concrete edifice, it would be more like Fear and Loathing in Las Vegas’s Circus-Circus than the Grand Budapest, despite its tasteful, clean exterior. Its commitment to ‘new approaches to fiction, non-fiction and poetry’ promises all manner of havoc. It is not the only journal committed to literary innovation, but it is among the best.
Camille Ralphs, Times Literary Supplement
Hotel was a short-lived independent anthology series for experimental literatures in English and first-time English language translation; a magazine, both in print and online, that sought to provide temporary accommodation for otherwise homeless ideas.
Seven years on from the publication of Hotel #1 (2016), and in tribute to the cessation of the “paper hotel” with the publication of Hotel #7 (2021), Seven Rooms anthologises works from across the Hotel series to showcase the project’s unerring commitment to pioneering creativity, literature’s idiosyncrasies, and shared space; to new approaches to fiction, non-fiction, and poetry.
A collaborative publication from
Tenement Press & Prototype Publishing,
assembling selected materials from
a magazine called Hotel ...
‘A hotel is defined by its inhabitants,’ runs Hotel’s tagline. If Hotel itself were a concrete edifice, it would be more like Fear and Loathing in Las Vegas’s Circus-Circus than the Grand Budapest, despite its tasteful, clean exterior. Its commitment to ‘new approaches to fiction, non-fiction and poetry’ promises all manner of havoc. It is not the only journal committed to literary innovation, but it is among the best.
Camille Ralphs, Times Literary Supplement
SEE HERE
Hotel was a short-lived independent anthology series for experimental literatures in English and first-time English language translation; a magazine, both in print and online, that sought to provide temporary accommodation for otherwise homeless ideas.
Seven years on from the publication of Hotel #1 (2016), and in tribute to the cessation of the “paper hotel” with the publication of Hotel #7 (2021), Seven Rooms anthologises works from across the Hotel series to showcase the project’s unerring commitment to pioneering creativity, literature’s idiosyncrasies, and shared space; to new approaches to fiction, non-fiction, and poetry.

Seven Rooms includes works by Mario Dondero, Erica Baum, Jess Cotton, Rebecca Tamás, Stephen Watts, Helen Cammock, Salvador Espriu, Lucy Mercer, Lucy Sante, Ryūnosuke Akutagawa, Ryan Choi, John Yau, Nicolette Polek, Chris Petit, Sascha Macht, Amanda DeMarco, Mark Lanegan, Vala Thorodds, Richard Scott, Joshua Cohen, Hannah Regel, Nick Cave, Daisy Lafarge, Holly Pester, Matthew Gregory, Olivier Castel, Emmanuel Iduma, Joan Brossa, Cameron Griffiths, Imogen Cassels, Hisham Bustani, Maia Tabet, Raúl Guerrero, Velimir Khlebnikov, Natasha Randall, Edwina Attlee, Matthew Shaw, Aidan Moffat, Lesley Harrison, Oliver Bancroft, Lauren de Sá Naylor, Will Eaves, Sandro Miller, Jim Hugunin, Levina van Winden, Aram Saroyan, Glykeria Patramani, Will Oldham, Antonio Tabucchi, Yasmine Seale, Elizabeth Harris, Nina Mingya Powles, Isabel Galleymore, Jason Shulman, Jeffrey Vallance, Preti Taneja, Stanley Schtinter, Wayne Koestenbaum, Sophie Seita, Ralf Webb, Jonathan Chandler, Iain Sinclair, SJ Fowler, Cass McCombs, David Grubbs, Agustín Fernández Mallo, Pere Joan, Thomas Bunstead, Adrian Bridget and John Divola.


Seven Rooms was edited by Tenement’s Dominic J. Jaeckle and Prototype’s Jess Chandler—designed and typeset by Traven T. Croves—and carries an afterword by London’s perpetual neon light, Gareth Evans.
11/10/23
A VOYAGE TO WEST SUNSET BOULEVARD
A Los Angeles reading, Jeffrey Vallance
(& friends) gather to celebrate the
Tenement Press publication of his
selected spiritual and esoteric writings,
A VOYAGE TO EXTREMES ...
To our comrades in California,
head to Stories Books & Café
on November 6th ...1716 W Sunset Blvd.
![]()
Art historically, this ginormous yellow tome is a gold mine, providing off-the-cuff anecdotal accounts of Vallance’s legendary curatorial interventions in various off-beat thematic museums in Vegas, while elsewhere detailing extensive cross-cultural research into the religious, anthropological and philosophical significance of clowns. As promised by the subtitle, much of the work addresses spirituality, religion, shamanism and paranormal phenomenology. Richard Nixon, Thomas Kinkade, Martin Luther, Charlie Manson, Ronald McDonald, the Loch Ness Monster and other spiritual teachers all make appearances. It’s not a fluke that Vallance’s curiosity-driven ideational flow is so reminiscent of an extended Wikipedia surf.
[...]
Vallance’s Voyage to Extremes seems to me to be the most successful literary embodiment of the human cognitive structures that have evolved with the internet—not from imitation, but from pre-existing structural resonance. A playful, weightless curiosity may seem like a fey and inconsequential thing, but when it drifts across a border as if the border wasn’t there, watch out! That’s when Luther’s excrement hits the Devil’s fan!
Artillery Magazine
(see here)
head to Stories Books & Café
on November 6th ...
1716 W Sunset Blvd.
Los Angeles CA 90026

Art historically, this ginormous yellow tome is a gold mine, providing off-the-cuff anecdotal accounts of Vallance’s legendary curatorial interventions in various off-beat thematic museums in Vegas, while elsewhere detailing extensive cross-cultural research into the religious, anthropological and philosophical significance of clowns. As promised by the subtitle, much of the work addresses spirituality, religion, shamanism and paranormal phenomenology. Richard Nixon, Thomas Kinkade, Martin Luther, Charlie Manson, Ronald McDonald, the Loch Ness Monster and other spiritual teachers all make appearances. It’s not a fluke that Vallance’s curiosity-driven ideational flow is so reminiscent of an extended Wikipedia surf.
[...]
Vallance’s Voyage to Extremes seems to me to be the most successful literary embodiment of the human cognitive structures that have evolved with the internet—not from imitation, but from pre-existing structural resonance. A playful, weightless curiosity may seem like a fey and inconsequential thing, but when it drifts across a border as if the border wasn’t there, watch out! That’s when Luther’s excrement hits the Devil’s fan!
Artillery Magazine
(see here)

SEE HERE
04/10/23
Schtinter’s LAST MOVIES
in Prospect Magazine
in Prospect Magazine
Roll over to the Prospect website for Sukhdev Sandhu
on Stanley Schtinter’s upcoming Tenement title ...
The more details Schtinter’s Last Movies uncovers the more mysterious his project becomes. What are we meant to understand from learning that Franz Kafka’s last movie was The Kid (1921) by Charlie Chaplin? Or that Chaplin started casting it just one week after the death of his son Norman? Or that Norman’s tombstone read only “The Little Mouse”? Or that, after Chaplin himself died in 1977 (his last movie was Kubrick’s Barry Lyndon), his coffin was dug up from a Lausanne cemetery by two refugees and held to ransom? Perhaps it’s the freedom to speculate, the unanswerability of those questions, that is its own reward. Boldface names, lurid details, strange connection. Schtinter, always eager to deflate pomposity, likens his project to an “occult version of OK! magazine.” [...] I myself can’t help wondering: what if we were to watch every movie as if it were our last?
on Stanley Schtinter’s upcoming Tenement title ...
SEE HERE
The more details Schtinter’s Last Movies uncovers the more mysterious his project becomes. What are we meant to understand from learning that Franz Kafka’s last movie was The Kid (1921) by Charlie Chaplin? Or that Chaplin started casting it just one week after the death of his son Norman? Or that Norman’s tombstone read only “The Little Mouse”? Or that, after Chaplin himself died in 1977 (his last movie was Kubrick’s Barry Lyndon), his coffin was dug up from a Lausanne cemetery by two refugees and held to ransom? Perhaps it’s the freedom to speculate, the unanswerability of those questions, that is its own reward. Boldface names, lurid details, strange connection. Schtinter, always eager to deflate pomposity, likens his project to an “occult version of OK! magazine.” [...] I myself can’t help wondering: what if we were to watch every movie as if it were our last?

In advance of the collection’s November release,
pre-order a copy of Schtinter’s Last Movies
direct from Tenement Press ...

26/09/23
A Pink Plastic Glove Arrives ...
Readings from Dolors Miquel,
Nadia de Vries, & Peter Bush
on Montez Press Radio
27/09/23 • 18:00 (EST) / 23:00 (BST)
Readings from Dolors Miquel,
Nadia de Vries, & Peter Bush
on Montez Press Radio
27/09/23 • 18:00 (EST) / 23:00 (BST)

Following the Tenement Press publication of Dolors Miquel’s El guant de plàstic rosa / The Pink Plastic Glove, translated from the Catalan by Peter Bush, this Wednesday (27.09.23) sees a special, 30 minute broadcast run with New York’s Montez Press Radio carrying bilingual readings from the collection (read and recorded by Dolors Miquel, with English language iterations of her verses recited by Nadia de Vries and her translator, Peter Bush).
SEE HERE

As read by Dolors Miquel
& Nadia de Vries
‘Rescat’ / ‘Rescued’
As read by Dolors Miquel
& Nadia de Vries
‘Tic-Toc, ¿hi ha algú?’ / ‘Knock Knock, is Anyone There?’
As read by Dolors Miquel
& Nadia de Vries
‘Fregall’ / ‘Scourer’
As read by Dolors Miquel
& Peter Bush
‘Cita amb el fred’ / ‘Date with the Cold’
As read by Dolors Miquel
& Nadia de Vries
‘Si jo hagués dit’ / ‘If I Had Said’
As read by Dolors Miquel
& Nadia de Vries
Dolors Miquel is a leading Catalan poet. From an early age, her distinct and critical voice—as evidenced in her writing for the page and the stage—upset many in her provincial birthplace. Expelled from a school run by nuns, Miquel studied in Barcelona, where she founded the literary magazine La Higiènica and, in the mid-90s, began to publish poems in a variety of styles. In collaboration with other Catalan poets, Miquel would organise week-long tours of small towns (ever keen to perform her works) and her writings—sharp, clear-eyed and ever-political—distill her roving criticality in a poetry that desecrates everything: ‘the Church, politics, and, naturally, the male figure’ (María Eloy García). In Gitana Roc (Llibres Del Segle, 2000), Miquel would express the core of her work as follows: ‘I talk about the damage caused by social structures, such as the family or the police. Love is the most frightening contract of fear, also the most powerful safeguard of society, and sex is the carrot.’ This aura of critique defines Miquel’s extensive bibliography (with over twenty collections under her name to date), and she has received numerous awards, such as the Rosa Leveroni (1989), Ciutat de Barcelona (2005), Gabriel Ferrater (2006), and Ausiàs March de Gandia (2016). She has published numerous collections, among them La dona que mirava la tele / The woman who watched TV (Edicions 62, 2010) and La flor invisible / The invisible flower (Bromera, 2011). Her latest book, Sutura / Suture (Pagès, 2021) is her final work as a poet; Miquel lives and works in Torredembarra, and continues to publish theatrical texts and other writings.
Peter Bush is a translator. His first literary translation was Juan Goytisolo’s Forbidden Territory (North Point Press, 1989) and Bush has to date translated eleven other titles in Goytisolo’s bibliography, including The Marx Family Saga and Exiled from Almost Everywhere. He has translated many Catalan writers including Josep Pla, Mercè Rodoreda, Joan Sales, Najat El Hachmi and Teresa Solana. His most recent effort is A Film (3000 meters) by Víctor Català, the classic 1919 feminist novel set in Barcelona’s criminal underworld. Bush lives and works in Bristol.
Nadia de Vries is a writer from Amsterdam. She is the author of three poetry collections, including Know Thy Audience (Moist Books, 2023) and I Failed to Swoon (Dostoyevsky Wannabe, 2021). She also writes fiction in Dutch.

18/09/23
Stanley Schtinter’s LAST MOVIES ...
Preorder a copy from Tenement,
& a limited (glow in the dark) hardback edition
& accompanying cassette release on the make
from purge.xxx
Very strange, and deeply thought-provoking.
Laura Mulvey
Schtinter runs with wolves.
Sukhdev Sandhu
Last Movies brings together its selections by the force of an external event, one which bears not on the films themselves but on little-known details of their exhibition histories, and then orders them not according to any curatorial vision but by date of disappearance. It abandons all those calcified criteria most frequently used to organise cinema programmes: period, nation, genre, director, star, theme. Nothing internal to these films motivates their inclusion, their “quality” least of all. Although Schtinter can choose a death to research, the title to be shown is dictated by history. This is all to say that Last Movies embraces chance, an avant-garde strategy its orchestrator has been known to marshal in previous undertakings.
Erika Balsom
PREORDER A PAPERBACK FROM TENEMENT
PREORDER A HARDBACK FROM PURGE.XXX
Preorder a copy from Tenement,
& a limited (glow in the dark) hardback edition
& accompanying cassette release on the make
from purge.xxx
Very strange, and deeply thought-provoking.
Laura Mulvey
Schtinter runs with wolves.
Sukhdev Sandhu
Last Movies brings together its selections by the force of an external event, one which bears not on the films themselves but on little-known details of their exhibition histories, and then orders them not according to any curatorial vision but by date of disappearance. It abandons all those calcified criteria most frequently used to organise cinema programmes: period, nation, genre, director, star, theme. Nothing internal to these films motivates their inclusion, their “quality” least of all. Although Schtinter can choose a death to research, the title to be shown is dictated by history. This is all to say that Last Movies embraces chance, an avant-garde strategy its orchestrator has been known to marshal in previous undertakings.
Erika Balsom
PREORDER A PAPERBACK FROM TENEMENT
PREORDER A HARDBACK FROM PURGE.XXX
Forthcoming from Tenement in November; shipping out with purge.xxx in December; a furnace of facts from the artist. Schtinter’s writings are accompanied by a foreword from Erika Balsom (programme notes to a marathon screening); an ‘Intermission’ from Bill Drummond, and an afterword by Nicole Brenez.
Stanley Schtinter’s Last Movies—the tenth title from Tenement Press—remaps the century of cinema according to the final films as watched by a selection of its icons.
Here, we’ve a book in which Manhattan Melodrama, directed by W.S. van Dyke and George Cukor, is seen by American gangster John Dillinger, only for him to be gunned down by federal agents upon leaving the cinema. In which George Cukor watched The Graduate, and dies thereafter. In which Bette Davis—given her break by Cukor—watches herself in Waterloo Bridge (the 1940 remake Cukor had been meant to direct), before travelling to France and failing to make it back to Hollywood. In which Rainer Werner Fassbinder watches Bette Davis in Michael Curtiz’s 20,000 Years in Sing Sing, and suffers the stroke that kills him. In which John F. Kennedy watches From Russia with Love at a private ‘casa-blanca’ screening prior to the presidential motorcade reaching Dealey Plaza; in which Burt Topper’s War is Hell exists only in a fifteen-minute cut, considering this is as much as Lee Harvey Oswald would have seen at the Texas Theatre in the wake of JFK’s killing.
Like Hermione Lee “at the movies,” and redolent of the works of Kenneth Anger, Schtinter’s Last Movies is enamoured by the ludicrousness of a swan song that lingers on in a world still trying to sing.
FOR A FURTHER WORD ON
THIS TITLE, SEE HERE ...
Stanley Schtinter has been described by writer Iain Sinclair as ‘the last accredited activist, the last avant-garde.’ He recently presented the premiere of his “endless” video-work, The Lock-In, at the International Short Film Festival Oberhausen, and exhibited the work as a solo presentation at the Barbican Centre in London during July 2022 (reviewed for The Guardian by Jonathan Jones as ‘an epic film [...] spellbinding, Warholian’). From May 2021 until May 2022 he presented Important Books (or, Manifestos read by Children) at Whitechapel Gallery in London. In 2021, he published the edited collection, The Liberated Film Club (Tenement Press). Schtinter is the artistic director of purge.xxx; an “anti-” record label (“anti-” everything) wherein he curates and publishes a catalogue of sound-works, soundtracks, and collaborations.
14/08/23
On the activities of the
Radical Translation Workshops ...
Announcing a book
& an upcoming broadcast

JUST NOISE (A WORK FOR RADIO)
RESONANCE EXTRA • 16/08/23 • 13:00 (BST)
The Radical Translation project—led by Sanja Perovic with Rosa Mucignat, Jacob McGuinn, and a group of researchers—looks to the French Revolution to recover the vitality of Europe’s shared radical past. In the convulsive political climate of revolution, translation was not simply a new container for an esteemed original. It was also a type of direct action, as revolutionaries and their sympathisers turned to translation to express a commitment to radical ideas that they were not always able to do in practice. The work of the Radical Translation collective repositions translators not as passive recipients of foreign propaganda but as key cultural mediators seeking to ‘spread democracy’ into new cultures and different language communities—a contested practice then as now. The collective defines as ‘radical’ any translation that aims to extend democratic and egalitarian ideas into new contexts; this includes both inter-cultural exchange between languages and intra-cultural translation adapted to domestic ends, as the revolutionaries sought to cross all sorts of linguistic, geographic, social and cultural boundaries.

A broadcast on the work of the Radical Translations group, The Invention of Liberty, or Just Noise—written and produced by Patrick Bernard—will broadcast on Resonance Extra at 13:00 (BST), 16/08/23. Kicking off Tenement’s new series, No University Press—see here—an anthology anchored in the output of the Radical Translations group workshops (led by frequent Tenement collaborator Cristina Viti) will publish in January ‘24...
AN ANARCHIST PLAYBOOK
Kicking off Tenement’s new series, No University Press—see here—an anthology anchored in the output of the Radical Translations group workshops (led by frequent Tenement collaborator Cristina Viti) will publish in January ‘24, An Anarchist Playbook.

Assembled in the Playbook are the last words of Gracchus Babeuf, the leader of the conspiracy and a radical proponent of the abolition of private property, and of his fellow conspirator Augustin Darthé, as they faced the guillotine. We’ve a letter, written in the popular idiom of the sans-culottes, that urges the common soldier to rebel; the score and lyrics of a street song that names the new class enemy: the wealthy bourgeoisie who have profited from the revolution; a first-time English translation of The Last Judgement of All Kings—an extraordinary one-act play by Sylvain Maréchal, the unofficial poet of the Conspiracy, that was performed to considerable acclaim in Year II of the Revolution (and that the Workshop is in the process of adapting for contemporary audiences). Many of these texts were never published in their own time, and form a part of the testament left behind by Philippe Buonarroti, a leading conspirator who inspired new generations of revolutionaries across Europe over the course of the nineteenth and early twentieth centuries. Among the best known works included is the Manifesto of Equals, long considered a founding text of social, communist and anarchist revolutions. The Playbook presents a translation of the Manifesto alongside other key texts by the conspirators, reconstructing the richness and variety of revolutionary communication that informs the editorship, shape, and scope of this volume.
The works gathered in the Playbook were written in the context of a collective struggle for greater rights and equality, and the translations assembled in this collection have been produced collaboratively in an attempt to bring this collective process back to life. This publication is the outcome of a set of co-translations written by the Radical Translation Workshop (see radical translations.org); an informal group that included translators, performers, university students and lecturers from Britain, France and Italy—all united in their desire to find new ways of translating historic revolutionary thought for our present time. The workshops engaged with the liveliness of revolutionary language as participants discussed the meaning of key concepts and expressions and arrived at a shared sense of a translation that would show their relevance in contemporary terms.
FOR NOTES ON BERNARD’S
BROADCAST, JUST NOISE,
SEE HERE ...
FOR A FURTHER WORD ON
AN ANARCHIST PLAYBOOK,
SEE HERE ...
28/07/23
Announcing the tenth of
Tenement’s “Yellowjackets” ...
FORTHCOMING IN NOVEMBER
Stanley Schtinter’s
debut collection, Last Movies
A DURATIONAL ARTWORK, MOVING-IMAGE EXPERIENCE,
& PARALLEL PUBLICATION, SCHTINTER’S LAST MOVIES
REMAPS THE CENTURY OF CINEMA ACCORDING TO THE
FINAL FILMS AS WATCHED BY A SELECTION OF ITS ICONS ...
The fantasy of the “last movie” is undone by the reality of Schtinter’s Last Movies.
They are often random and in large part unchosen; they throw significance into crisis and demand acquiescence to externality. They are, in other words, like death itself.
Erica Balsom
The Last Movies raises the status
of the film programme to that
of monumental artwork.
Gareth Evans
A FURNACE OF FACTS IN OUR AGE OF ENTIRETY;
A COMPENDIUM OF ENDINGS FROM THE ARTIST ...
What is a society that values nothing more than survival?
Giorgio Agamben
The cinema can kill, just like anything else.
Louis Malle
Stanley Schtinter’s debut collection, Last Movies, is an extensive and exhaustive research project. A holy book of celluloid spiritualism and old canards that—questioning and reconfiguring common knowledge—recasts the historic column inches of cinema’s mythological hearsay into a thousand-yard stare of a book. An excoriation of the twentieth century (and our dance into the twenty-first), Last Movies antagonises the possibility of survival in an age of extremity and extinction, only to underline the degree of accident involved in a culture’s relationship with posterity.
Here, we’ve a book in which Manhattan Melodrama is seen by American gangster John Dillinger, only for him be gunned down by federal agents upon leaving the cinema. In which director George Cukor watches The Graduate (and dies thereafter). In which Bette Davis watches herself in Waterloo Bridge, before travelling to France and failing to make it back to Hollywood. Rainer Werner Fassbinder watches Bette Davis in Michael Curtiz’s 20,000 Years in Sing Sing, and suffers the stroke that kills him. In which John F. Kennedy watches From Russia with Love at a Palm Beach private screening prior to the presidential motorcade reaching Dealey Plaza; in which Burt Topper’s War is Hell exists only in a fifteen-minute cut, considering this is as much as Lee Harvey Oswald would have seen at the Texas Theatre in the wake of JFK’s killing.
Like Hermione Lee “at the movies,” and redolent of the works of Kenneth Anger, Schtinter’s Last Movies is enamoured by the ludicrousness of a swan song that lingers on in a world still trying to sing. Rather than a book dedicated to the effects of cinema on society, this is a collection of writings predicated by a dedication to cinema. Last Movies is a love letter to those that’ve lived (and died) amidst the patina and glow of cinema’s counterpoint to life (as lived) via a haphazard index of thirty of its notable audience members.
SEE HERE
![]()
21/07/23Tenement’s “Yellowjackets” ...
FORTHCOMING IN NOVEMBER
Stanley Schtinter’s
debut collection, Last Movies
A DURATIONAL ARTWORK, MOVING-IMAGE EXPERIENCE,
& PARALLEL PUBLICATION, SCHTINTER’S LAST MOVIES
REMAPS THE CENTURY OF CINEMA ACCORDING TO THE
FINAL FILMS AS WATCHED BY A SELECTION OF ITS ICONS ...
The fantasy of the “last movie” is undone by the reality of Schtinter’s Last Movies.
They are often random and in large part unchosen; they throw significance into crisis and demand acquiescence to externality. They are, in other words, like death itself.
Erica Balsom
The Last Movies raises the status
of the film programme to that
of monumental artwork.
Gareth Evans
PREORDER HERE


A FURNACE OF FACTS IN OUR AGE OF ENTIRETY;
A COMPENDIUM OF ENDINGS FROM THE ARTIST ...
What is a society that values nothing more than survival?
Giorgio Agamben
The cinema can kill, just like anything else.
Louis Malle
Stanley Schtinter’s debut collection, Last Movies, is an extensive and exhaustive research project. A holy book of celluloid spiritualism and old canards that—questioning and reconfiguring common knowledge—recasts the historic column inches of cinema’s mythological hearsay into a thousand-yard stare of a book. An excoriation of the twentieth century (and our dance into the twenty-first), Last Movies antagonises the possibility of survival in an age of extremity and extinction, only to underline the degree of accident involved in a culture’s relationship with posterity.
Here, we’ve a book in which Manhattan Melodrama is seen by American gangster John Dillinger, only for him be gunned down by federal agents upon leaving the cinema. In which director George Cukor watches The Graduate (and dies thereafter). In which Bette Davis watches herself in Waterloo Bridge, before travelling to France and failing to make it back to Hollywood. Rainer Werner Fassbinder watches Bette Davis in Michael Curtiz’s 20,000 Years in Sing Sing, and suffers the stroke that kills him. In which John F. Kennedy watches From Russia with Love at a Palm Beach private screening prior to the presidential motorcade reaching Dealey Plaza; in which Burt Topper’s War is Hell exists only in a fifteen-minute cut, considering this is as much as Lee Harvey Oswald would have seen at the Texas Theatre in the wake of JFK’s killing.
Like Hermione Lee “at the movies,” and redolent of the works of Kenneth Anger, Schtinter’s Last Movies is enamoured by the ludicrousness of a swan song that lingers on in a world still trying to sing. Rather than a book dedicated to the effects of cinema on society, this is a collection of writings predicated by a dedication to cinema. Last Movies is a love letter to those that’ve lived (and died) amidst the patina and glow of cinema’s counterpoint to life (as lived) via a haphazard index of thirty of its notable audience members.
SEE HERE

A new entry in the
Tenement catalogue; out now ...
Dolors Miquel,
El guant de plàstic rosa /
The Pink Plastic Glove
Translated from the Catalan
by Peter Bush
![]()
Tenement catalogue; out now ...
Dolors Miquel,
El guant de plàstic rosa /
The Pink Plastic Glove
Translated from the Catalan
by Peter Bush

The Pink Plastic Glove is language fighting for its life, or more appropriately, for its death. It points to what lies beyond language in a way that opens onto the archaic, and in a way that makes you gasp. Dolors Miquel is the grand disappearer of words, with a style so lucid, and savage, that it makes tangible the invisible behind words and the long blank at the end of meaning without ever losing faith in the power of language to do exactly that. I’m struggling to say exactly what the experience of reading this book feels like, which is exactly the effect of this supremely discomfiting book, to be in the un-worded presence, through words themselves, of the sacred. The Pink Plastic Glove is a supreme act of faith and despair.
David Keenan
Miquel’s unmistakable love for language is infectious, and her narrative skill will suck you right in. How often do you read a poetry collection that tells an actual story? The Pink Plastic Glove is a tale about mourning. It’s intense, rhythmic and menacing, like grief. From the book’s preface, we learn that Miquel wrote these poems after suffering a deep, personal loss. But there’s no self-pity in these poems, no sentimentality. Miquel alchemizes pain and twists it into abstract song. The Pink Plastic Glove is a mysterious collection, in that regard. It gives us intimacy and riddles all at once. And Miquel’s poems are all the more exciting for it. They are erotic, caustic, and uncompromising—a pulsating delight.
Nadia de Vries
Dolors Miquel is a blast of fresh water
irrigating the stony terrain of Catalan poetry.
Francesc Gelonch
One day, when I happened to be holding The Pink Plastic Glove, my grandmother, who has lived ninety-eight years and is wiser than all the literary critics I have ever known, used the word ‘miquel’ as a noun: ‘Aquell em fot cada miquel!’ she said, (‘That book gives me such turns!’). It was then I discovered that the word ‘miquel,’ according to the Institute of Catalan Dictionary, meant ‘an unexpected swipe, refusal, reprimand, contempt, scorn, etc. that leaves someone in a bad place, that mortifies and humiliates them.’ That lexical find seemed an appropriate way to enter into Miquel’s project and measure its tone: fierce, cheeky, firm, spare, bitter ... Take, for example, ‘Voluptuous Finale’ in which the wretched dead man resting on his autopsy bed only craves to be buried ‘stark naked with my erect penis marking position 32º latitude North.’ That is, even with both feet on the other side, this poor male can’t give his testosterone a rest, or free himself from the very heterosexual modus operandi practiced by many men and women who have an allergy to hosting a hint of dissidence between their legs, because Miquel doesn’t just hand out gratuitous “miquels” and keep quiet, but calls on women shoring up the patriarchy with their aesthetic and matrimonial submission to savour a spot of disorder.
Laura G. Ortensi, La Lectora
The Tenement translation of Miquel’s
El guant de plàstic rosa / The Pink Plastic Glove
was supported by the Institut Ramon Llull.
12/07/23
Kyra Simone : Excerpts from
Temporary Palaces on Plastic Language (NTS Radio)
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Excerpts from Kyra Simone’s Temporary Palace—an unabridged serialisation of Simone’s Tenement title, Palace of Rubble—was featured on Will René’s monthly radio programme, Plastic Language, alongside works by Mount Eerie’s Phil Elverum, Tod Barton, Ursula K. Le Guin, Eugene B. Redmond, Mike Ratelage, and a myriad more.
SEE HERE
Temporary Palaces on Plastic Language (NTS Radio)

Excerpts from Kyra Simone’s Temporary Palace—an unabridged serialisation of Simone’s Tenement title, Palace of Rubble—was featured on Will René’s monthly radio programme, Plastic Language, alongside works by Mount Eerie’s Phil Elverum, Tod Barton, Ursula K. Le Guin, Eugene B. Redmond, Mike Ratelage, and a myriad more.
SEE HERE
Plastic Language explores spoken word across recorded media, spanning dub, jazz, ASMR, sound poetry & much more. René’s selections are informed by—but not limited to—the collection of poetry LPs at Southbank Centre's National Poetry Library, where René works as a librarian.

04/07/23
Dolors Miquel, ‘The Pink Plastic Glove,’
online via Granta
The title poem from the forthcoming Tenement Press publication of Dolors Miquel’s The Pink Plastic Glove / El guant de plàstic rosa has been published online by Granta, alongside works by Marta Orriols, Irene Solà, and Montserrat Roig as a part of a Catalan special.
SEE HERE



03/07/23
Helen Palmer’s
Pleasure Beach (Cochlearical);
Now Available via Spiracle
Pleasure Beach (Cochlearical);
Now Available via Spiracle

Following the recent “Bloomsday” publication of Palmer’s Pleasure Beach via our friends at Prototype Publishing, and hot on the heels of the Railroad Flat Radio serialisation of the novel for Resonance Extra, you can now purchase and download an unabridged iteration of Palmer’s work via the Spiracle platform.
DOWNLOAD VIA SPIRACLE
ORDER A COPY DIRECT FROM PROTOTYPE
DOWNLOAD VIA SPIRACLE
ORDER A COPY DIRECT FROM PROTOTYPE
01/07/23
Kyra Simone’s
TEMPORARY PALACES
I was hooked by the very first sentence of Kyra Simone’s Palace of Rubble: “A breaking wave collapses on the bank before two half-naked women on white Arabian horses.” The sentence is so precise, down to the use of the erotic “collapses.” Plunged into this direct, clear, and mysterious arrangement of words, I was always left wondering what will happen next. Where will the next sentence take me? I was never disappointed. Simone is able to maintain and shift that propulsive curiosity throughout the book. While dancing with us, each sentence is a journey. Each story is a multi-faceted gem—a “beguiling dream of eternal cinema.”
John Yau
Majestic flights of fancy spun around ravaged landscapes
and savage realities, these are remarkable prose poems
for the 21st century.
Chloe Aridjis

℅ Resonance Extra, and following the final broadcast in a triplicate of airs that carry an unabridged reading of Simone’s Tenement title, Palace of Rubble (as read by the author), see below to listen to the series in full via Tenement’s Railroad Flat Radio, and order a copy of the book direct from the Press.

Temporary Palaces was produced for Resonance by Dominic J. Jaeckle and Milo Thesiger-Meacham, and recorded in the station’s South London studio in the Autumn months of 2023. Simone’s readings are flanked by found sounds, drones, appropriated rumbles, and (occasional) sonic interventions from Thanet Tape Centre (with thanks to Benedict Drew).

PALACE FOR THE EYES
PALACE FOR THE EARS
29/06/23
Tenement Press
& Prototype Publishing
SEVEN ROOMS
Seven years on from the publication of Hotel #1 (2016), and in tribute to the cessation of the “paper hotel” with the publication of Hotel #7 (2021), Seven Rooms—a collaborative publication from Tenement Press and Prototype Publishing (a collaboration necessitated by Hotel’s longstanding dedication to collaboration itself)—is a document of the Hotel’s unerring commitment to pioneering creativity, literature’s idiosyncracies, and shared space; to new approaches to fiction, non-fiction, and poetry.
‘A Hotel is defined by its inhabitants,’ runs Hotel’s tagline. If Hotel itself were a concrete edifice, it would be more like Fear and Loathing in Las Vegas’s Circus-Circus than the Grand Budapest, despite its tasteful, clean exterior. Its commitment to “new approaches to fiction, non-fiction and poetry” promises all manner of havoc. It is not the only journal committed to literary innovation, but it is among the best.
Camille Ralphs, The Times Literary Supplement
‘A Hotel is defined by its inhabitants,’ runs Hotel’s tagline. If Hotel itself were a concrete edifice, it would be more like Fear and Loathing in Las Vegas’s Circus-Circus than the Grand Budapest, despite its tasteful, clean exterior. Its commitment to “new approaches to fiction, non-fiction and poetry” promises all manner of havoc. It is not the only journal committed to literary innovation, but it is among the best.
Camille Ralphs, The Times Literary Supplement


Forthcoming Autumn ‘23 in a limited edition—edited by Tenement’s Dominic J. Jaeckle, Prototype’s Jess Chandler, and designed and typeset by Traven T. Croves (Matthew Stuart & Andrew Walsh-Lister, of Tenement, Prototype, and Bricks from the Kiln fame)—Seven Rooms will feature works by (in order of appearance) ...
Mario Dondero, Erica Baum, Jess Cotton, Rebecca Tamás,
Stephen Watts, Helen Cammock, Salvador Espriu, Lucy Mercer,
Lucy Sante, Ryūnosuke Akutagawa, Ryan Choi, John Yau,
Nicolette Polek, Chris Petit, Sascha Macht, Amanda DeMarco,
Mark Lanegan, Vala Thorodds, Richard Scott, Joshua Cohen,
Hannah Regel, Nick Cave, Daisy Lafarge, Holly Pester,
Matthew Gregory, Olivier Castel, Emmanuel Iduma, Joan Brossa,
Cameron Griffiths, Imogen Cassel, Hisham Bustani, Maia Tabet,
Raúl Guerrero, Velimir Khlebnikov, Natasha Randall,
Edwina Attlee, Matthew Shaw, Aidan Moffat, Lesley Harrison,
Oliver Bancroft, Lauren de Sá Naylor, Will Eaves, Sandro Miller,
Jim Hugunin, Levina van Winden, Aram Saroyan, Glykeria Patramani,
Will Oldham, Antonio Tabucchi, Yasmine Seale, Elizabeth Harris,
Nina Mingya Powles, Isabel Galleymore, Makiko Faruichi,
Jason Shulman, Jeffrey Vallance, Preti Taneja, Stanley Schtinter,
Wayne Koestenbaum, Sophie Seita, Ralf Webb, Jonathan Chandler,
Iain Sinclair, SJ Fowler, Cass McCombs, David Grubb,
Agustín Fernández Mallo, Pere Joan, Thomas Bunstead,
Adrian Bridget, John Divola, & Gareth Evans
Stephen Watts, Helen Cammock, Salvador Espriu, Lucy Mercer,
Lucy Sante, Ryūnosuke Akutagawa, Ryan Choi, John Yau,
Nicolette Polek, Chris Petit, Sascha Macht, Amanda DeMarco,
Mark Lanegan, Vala Thorodds, Richard Scott, Joshua Cohen,
Hannah Regel, Nick Cave, Daisy Lafarge, Holly Pester,
Matthew Gregory, Olivier Castel, Emmanuel Iduma, Joan Brossa,
Cameron Griffiths, Imogen Cassel, Hisham Bustani, Maia Tabet,
Raúl Guerrero, Velimir Khlebnikov, Natasha Randall,
Edwina Attlee, Matthew Shaw, Aidan Moffat, Lesley Harrison,
Oliver Bancroft, Lauren de Sá Naylor, Will Eaves, Sandro Miller,
Jim Hugunin, Levina van Winden, Aram Saroyan, Glykeria Patramani,
Will Oldham, Antonio Tabucchi, Yasmine Seale, Elizabeth Harris,
Nina Mingya Powles, Isabel Galleymore, Makiko Faruichi,
Jason Shulman, Jeffrey Vallance, Preti Taneja, Stanley Schtinter,
Wayne Koestenbaum, Sophie Seita, Ralf Webb, Jonathan Chandler,
Iain Sinclair, SJ Fowler, Cass McCombs, David Grubb,
Agustín Fernández Mallo, Pere Joan, Thomas Bunstead,
Adrian Bridget, John Divola, & Gareth Evans
PREORDER HERE
19/06/23
Helen Palmer’s
PLEASURE BEACH (COCHLEARICAL) :
A Four-Part Serialisation of
the Prototype Publication
for Railroad Flat Radio & Resonance Extra
A book as mind-bending as Blackpool itself.
Jeremy Deller
In Pleasure Beach twenty-four hours becomes a feminist epic, a compulsive and convulsive kind of ecstasy that makes myth of Blackpool and young women. The “we” of the novel feels like a chorus—an “us”—hurtling through the same day and night as Olga, Rachel and Treesa, where time warps and extends around the momentum of falling in love. Walking a tightrope between the metaphor and the real, Palmer writes against humans as symbolic figures, collapsing together the internal and the external so that there is a kind of unreal-real rawness throughout. The intimacy of Pleasure Beach raves through the text, critiquing patriarchy and capitalism with a structure and style that upends and overturns, a tumult of fixation and energy. The novel is electrifying while redefining what the electric could be.
Prudence Bussey-Chamberlain
Broadcast in full last week, ℅ our comrades at Resonance Extra, a serialisation of Helen Palmer’s debut as read by the author, & recorded & produced by Dominic J. Jaeckle & Milo Thesiger-Meacham, listen again to Palmer’s reading via Railroad Flat Radio.
Pleasure Beach is a queer love story from the North West’s saucy seaside paradise, Blackpool, on one day: 16 June 1999. Written in multiple voices and styles, Pleasure Beach follows the interconnecting journeys and thoughts of three young women over the course of 24 hours and over 18 chapters which are structured and themed in the same way as James Joyce’s Ulysses.
Hedonist and wannabe playwright Olga Adessi, 19, is struggling along the prom to get to her morning shift at the chippy with a monstrous hangover, trying to remember exactly what happened with Rachel Watkins, 19, a strange and fragile girl she had an encounter with the night before. Former gymnast and teenage mum Treesa Reynolds, 19, is off to the Sandcastle Waterpark with her mum Lou and daughter Lulu, looking forward to a sausage and egg McMuffin on the way.
Pleasure Beach breathes and exhales the unique sea air, fish and chips, donuts and candyfloss scents of Blackpool, bringing to life everything the town is famous for, portraying the gritty magic and sheer unadulterated fun of the city and its people across a spectrum of sensory experiences and emotions.
See here ...
![]()
Pleasure Beach is the alcopop-soaked, stylistically promiscuous Y2K queer seaside teenage experimental novel you never knew you needed—with its chorus of voices ranging from Jacques Lacan to the Vengaboys and an impossibly sweet central romance, it is funny, sexy, class-conscious and, as they used to say, intensely intense.
Owen Hatherley
Published on “Bloomsday”—June 16th—by Prototype,
order a copy of Palmer’s novel direct from the Press below...
PLEASURE BEACH (COCHLEARICAL) :
A Four-Part Serialisation of
the Prototype Publication
for Railroad Flat Radio & Resonance Extra
A book as mind-bending as Blackpool itself.
Jeremy Deller
In Pleasure Beach twenty-four hours becomes a feminist epic, a compulsive and convulsive kind of ecstasy that makes myth of Blackpool and young women. The “we” of the novel feels like a chorus—an “us”—hurtling through the same day and night as Olga, Rachel and Treesa, where time warps and extends around the momentum of falling in love. Walking a tightrope between the metaphor and the real, Palmer writes against humans as symbolic figures, collapsing together the internal and the external so that there is a kind of unreal-real rawness throughout. The intimacy of Pleasure Beach raves through the text, critiquing patriarchy and capitalism with a structure and style that upends and overturns, a tumult of fixation and energy. The novel is electrifying while redefining what the electric could be.
Prudence Bussey-Chamberlain
Broadcast in full last week, ℅ our comrades at Resonance Extra, a serialisation of Helen Palmer’s debut as read by the author, & recorded & produced by Dominic J. Jaeckle & Milo Thesiger-Meacham, listen again to Palmer’s reading via Railroad Flat Radio.
Pleasure Beach is a queer love story from the North West’s saucy seaside paradise, Blackpool, on one day: 16 June 1999. Written in multiple voices and styles, Pleasure Beach follows the interconnecting journeys and thoughts of three young women over the course of 24 hours and over 18 chapters which are structured and themed in the same way as James Joyce’s Ulysses.
Hedonist and wannabe playwright Olga Adessi, 19, is struggling along the prom to get to her morning shift at the chippy with a monstrous hangover, trying to remember exactly what happened with Rachel Watkins, 19, a strange and fragile girl she had an encounter with the night before. Former gymnast and teenage mum Treesa Reynolds, 19, is off to the Sandcastle Waterpark with her mum Lou and daughter Lulu, looking forward to a sausage and egg McMuffin on the way.
Pleasure Beach breathes and exhales the unique sea air, fish and chips, donuts and candyfloss scents of Blackpool, bringing to life everything the town is famous for, portraying the gritty magic and sheer unadulterated fun of the city and its people across a spectrum of sensory experiences and emotions.
See here ...

Pleasure Beach is the alcopop-soaked, stylistically promiscuous Y2K queer seaside teenage experimental novel you never knew you needed—with its chorus of voices ranging from Jacques Lacan to the Vengaboys and an impossibly sweet central romance, it is funny, sexy, class-conscious and, as they used to say, intensely intense.
Owen Hatherley
Published on “Bloomsday”—June 16th—by Prototype,
order a copy of Palmer’s novel direct from the Press below...

18/06/23
Vallance’s VOYAGE
in the Fortean Times
in the Fortean Times
Following Vallance’s regular appearance in the pages of the Fortean Times, a review of the 2023 Tenement Press edition of an illustrated and “Bible-Long” collection of the artist’s spiritual writings and esoterica—A Voyage to Extremes—appears in the (paywalled) July edition of the rolling periodical for oddities, strange phenomena, and portents. Order a copy of Vallance’s Voyage direct from Tenement Press here ...

15/06/23
Tenement’s continous corridor of (digital) matter
is now open for rolling submissions;
for full details, see below ...
is now open for rolling submissions;
for full details, see below ...
See here ...
13/06/23
On Constraint / Romance / & Dissolving Worlds
A conversation between
Kyra Simone & Maggie Millner
online with BOMB
A conversation on (& around) Simone’s Tenement title,
Palace of Rubble, and Millner’s Couplets,
as published by Farrar, Straus and Giroux.
See here ... A conversation between
Kyra Simone & Maggie Millner
online with BOMB

A conversation on (& around) Simone’s Tenement title,
Palace of Rubble, and Millner’s Couplets,
as published by Farrar, Straus and Giroux.

Reza Baraheni’s novella LILITH;
(an impromptu translation);
out now with Tenement Press
The next Tenement title in the “yellowjacket” series;
a first English language edition from ‘Iran’s finest poet’ [Harper’s] ...


In Reza Baraheni’s Lilith, the mythological demon of the night gives a youthfully irreverent, viscerally wise voice to the lucidity of the rebel. Rather than renouncing freedom, Lilith is outcast for her outspokenness and sensuality—sequestered to a place wherein freedom is crucially situated in the power and beauty of language, and where that language is seated in stark opposition with the oppressive forms of authority that seek to make it mute.
Lilith can be seen as an allegorical take on the condition of the poet in exile. Like the banned and persecuted author, the demon refuses to yield to force and is, resultantly, a pariah. Her body becomes the dumping ground of all power-driven fantasies, and the figure of the exile is invested with the projected fears and compulsions of the dominant society. But it is the creative drive of language that permeates these pages.
A deeply lyrical and irreducibly subversive work, over a little less than a hundred pages Lilith investigates the limits of a linguistic freedom via encounters between Lilith and a cast of fabled figures, and the vulnerable courage of the poet is set against avatars of patriarchal oppression and authoritarian rule alike via the demon’s dance with language. In Lilith, it is language that disrupts ordinary chronology; language that allows for the shade of a dream life to dint the light of day; harking back to an envisaging of poetry as music, as ritual. This is not language as an evocation of some distant golden age, but as celebration.
An experiment in word alchemy; a dance of grace and danger on the fault-line of prose and song; Lilith explores the reality-making function of language to pinpoint the antagonistic faculty and political felicities of poetry itself.

In 2006, Lilith was adapted for the theatre and produced in France and Geneva by Thierry Bedard (under the title Exilith). Bedard has also previously presented Reza Baraheni’s play Enfer to great acclaim at the Avignon International Festival in 2004.
This Tenement text is a translation of Clément Marzieh’s brilliant French version (Fayard, 2007). No edition of Lilith, as far as is known, seems ever to have been published in Persian and, indeed, the original manuscript appears to have been lost. The English translators of Lilith have chosen to remain anonymous, but are very grateful to Reza Baraheni for his enthusiastic support. In addition to Baraheni’s Lilith, this edition also includes—as afterword—Baraheni’s poem ‘Daf’ (translated by Stephen Watts and Bareheni), and this edition is punctuated by a series of paintings by London-based artist, Oliver Bancroft.

Reza Baraheni (1935-2022) is one of the twentieth century’s major writers, whose work transverses poetry, novels and essays. With more than sixty books of poetry, fiction, literary theory and criticism to his name (oft-cited as a “founder of modern literary criticism in Iran,” the Washington Post), he is revered as a key figure in contemporary Persian literary culture. Baraheni’s works have been translated into several languages, and he has taught at universities in Iran, the United States, and Canada. Imprisoned under the Shah in 1973, he was arrested in Tehran; Baraheni claimed he was tortured and kept in a solitary confinement for 104 days—see God’s Shadow, Prison Poems (Indiana University Press, 1976), and The Crowned Cannibals (Random House, 1977)—and his involvement in the formation of the Consulting Assembly of the Writers Association of Iran necessitated his exile from the Islamic Republic. In Sweden, and in the United States thereafter, he joined the American branch of the International PEN, working very closely with such authors and poets as Edward Albee, Allen Ginsberg, and Richard Howard at PEN’s Freedom to Write Committee. With Kay Boyle, Baraheni acted as the Honorary Chair of the Committee for Artistic and Intellectual Freedom (CAIFI) to release Iranian writers and artists from prison. A celebrated and insightful commentator on literary freedom(s), his prose and poetry has been published in such periodicals as Time Magazine, the New York Times, the New York Review of Books, and the American Poetry Review. Eventually settling in Canada, Baraheni lived in exile in Toronto, and held post as a visiting professor at the University of Toronto’s Centre for Comparative Literature and as president of PEN Canada (2001-2003).
26/05/23
Kyra Simone’s ‘Temporary Palaces’
[...]
The second in a triplicate of broadcasts
with Resonance Extra, ‘The Wild One’
27.05.23 / 13:00 (BST)
extra.resonance.fm

In which the author reads ...
• ‘The Great Escape’
• ‘The Revolving Door’
• ‘The Tunnel’
• ‘May’s End’
• ‘A Certain Music’
• ‘The Era is Over’
• ‘Obituary for Mrs. H’
• ‘Empty Chairs’
• ‘Somewhere Else’
• ‘The Prairie is on Fire’
• ‘The Lonely Pioneer’
• ‘The Last Days of Winter’
• ‘Rooms That Aren’t There’
• ‘The American Falls from Below’
• ‘You Promised me a Kingdom’
• ‘The Great Escape’
• ‘The Revolving Door’
• ‘The Tunnel’
• ‘May’s End’
• ‘A Certain Music’
• ‘The Era is Over’
• ‘Obituary for Mrs. H’
• ‘Empty Chairs’
• ‘Somewhere Else’
• ‘The Prairie is on Fire’
• ‘The Lonely Pioneer’
• ‘The Last Days of Winter’
• ‘Rooms That Aren’t There’
• ‘The American Falls from Below’
• ‘You Promised me a Kingdom’
25/05/23

11/04/23
Cristina Viti & Rosa Mucignat,
Pier Paolo Pasolini, Lettura Poetica
The Italian Bookshop, 18:30, 23/05/23
A reading of works from Pasolini’s La rabbia (Tenement Press, 22)
and the poet’s works in Friulian.
The Italian Bookshop
123 Gloucester Road
London, SW7 4TE
RSVP: italian@esb.co.uk
italianbookshop.co.uk/events
Pier Paolo Pasolini, Lettura Poetica
The Italian Bookshop, 18:30, 23/05/23
A reading of works from Pasolini’s La rabbia (Tenement Press, 22)
and the poet’s works in Friulian.
The Italian Bookshop
123 Gloucester Road
London, SW7 4TE
RSVP: italian@esb.co.uk
italianbookshop.co.uk/events

29/04/23
[...]
The first in a triplicate of broadcasts
with Resonance Extra, ‘Tarzan the Apeman’
29.04.23 / 13:00 (BST)

In which the author reads the following works
from her collection, Palace of Rubble ...
• ‘Palace of Rubble’
• ‘When Language is Gone from Bodies’
• ‘The Boys of Summer’
• ‘The View from the Tower’
• ‘World Business’
• ‘County Fair’
• ‘Still Life with Parrot’
• ‘Museum’
• ‘Today, Clouds’
• ‘Foreign Affairs’
• ‘The Empty Lot’
• ‘Dear Pauline’
• ‘Cadets No More’
• ‘The Wedding Exit’
• ‘The Nomad’
• ‘Blue Moon’
• ‘The Diver’s Song’
• ‘Pawns Talk of Scars’
• ‘Den of Millionaires’
from her collection, Palace of Rubble ...
• ‘Palace of Rubble’
• ‘When Language is Gone from Bodies’
• ‘The Boys of Summer’
• ‘The View from the Tower’
• ‘World Business’
• ‘County Fair’
• ‘Still Life with Parrot’
• ‘Museum’
• ‘Today, Clouds’
• ‘Foreign Affairs’
• ‘The Empty Lot’
• ‘Dear Pauline’
• ‘Cadets No More’
• ‘The Wedding Exit’
• ‘The Nomad’
• ‘Blue Moon’
• ‘The Diver’s Song’
• ‘Pawns Talk of Scars’
• ‘Den of Millionaires’
28/04/23
Dolors Miquel’s
El guant de plàstic rosa /
The Pink Plastic Glove
El guant de plàstic rosa /
The Pink Plastic Glove
In a first-time English language translation
by Peter Bush, Tenement Press publishes
a bilingual edition of Miquel’s seminal
collection, awarded the Ausiàs March de
Gandia 2016 ...
by Peter Bush, Tenement Press publishes
a bilingual edition of Miquel’s seminal
collection, awarded the Ausiàs March de
Gandia 2016 ...

Life asked Death why he needed her to live /
And Death asked Life why she needed him to die …
So begins Miquel’s El Guant de Plàstic Rosa / The Pink Plastic Glove, a lyrical, acute, and metaphysical sequence of poems some fifteen years in the making. At the heart of Miquel’s collection, we’ve a central image. An unnamed man in a state of constant decomposition, rotting away in the kitchen sink. Piece by piece, his slow unbinding underpins a train of images wrought in sensuous, playful, and dynamic language. Stark vignettes spun from everyday colloquy—run through with the aura of Catalonian Renaissance writings—and gilded with a patina of light, a glut of shadow, and a blur of sensory experiences.
El Guant de Plàstic Rosa houses 36 studies of the dynamics of decay. The purr and buzz of bees humming, off-stage asides, slaughtered cows, mountains made of olive stones, the hum of a permanently empty refrigerator, and edible dreams littered with dahlias and roses, with carnations and colourful chrysanthemums...
Here, sex rattles the bones; Miquel’s pages percolate with love, with life—the subjectivist and social connotations of disease and decay—and on the prospect of mass destruction in a world itself on the brink of a self-inflicted extinction. In Bush’s visceral new translation, this chaos of signifers sing-speaks its way through the undying days of a century beyond its “sell-by,” and cogitates on life—so furnished with all its illusions and ironies—in an age consistently defined by its constant decline.
Publishing 10/07
Dolors Miquel (Lleida, 18 July 1960) is a leading Catalan poet. From an early age, her distinct and critical voice—as evidenced in her writing for the page and the stage—upset many in her provincial birthplace. Expelled from a school run by nuns, Miquel studied in Barcelona, where she founded the literary magazine La Higiènica and, in the mid-90s, began to publish poems in a variety of styles. In collaboration with other Catalan poets, Miquel would organise week-long tours of small towns (ever keen to perform her works) and her writings—sharp, clear-eyed and ever-political—distill her roving criticality in a poetry that desecrates everything: ‘the Church, politics, and, naturally, the male figure’ (María Eloy García). In Gitana Roc (Llibres Del Segle, 2000), Miquel would express the core of her work as follows: ‘I talk about the damage caused by social structures, such as the family or the police. Love is the most frightening contract of fear, also the most powerful safeguard of society, and sex is the carrot.’ This aura of critique defines Miquel’s extensive bibliography (with over twenty collections under her name to date), and she has received numerous awards, such as the Rosa Leveroni (1989), Ciutat de Barcelona (2005), Gabriel Ferrater (2006), and Ausiàs March de Gandia (2016). She has published numerous collections, among them La dona que mirava la tele / The woman who watched TV (Edicions 62, 2010) and La flor invisible / The invisible flower (Bromera, 2011). Her latest book, Sutura / Suture (Pagès, 2021) is her final work as a poet; Miquel lives and works in Barcelona, and continues to publish theatrical texts and other writings.
Peter Bush is a translator. His first literary translation was Juan Goytisolo’s Forbidden Territory (North Point Press, 1989) and Bush has to date translated eleven other titles in Goytisolo’s bibliography, including The Marx Family Saga and Exiled from Almost Everywhere. He has translated many Catalan writers including Josep Pla, Mercè Rodoreda, Joan Sales, Najat El Hachmi and Teresa Solana. His most recent effort is A Film (3000 meters) by Víctor Català, the classic 1919 feminist novel set in Barcelona’s criminal underworld. Bush lives and works in Oxford.
25/04/23
SANT JORDI USA
27/04/23, Online Programme
14:00-17:00 (EST) / 13:00-16:00 (CDT) / 19:00-23:00 (BST)

This year’s Sant Jordi—a rich, hybrid programme of Catalan literatures to mark and commemorate the Barcelona bookfair and festival—will feature a pre-recorded reading of works from the forthcoming Tenement Press publication of Dolors Miquel’s El guant de plàstic rosa / The Pink Plastic Glove in a new translation from Peter Bush.
See here for their programme,
& here for notes on this upcoming title
in the “yellowjacket” series.
18/04/23
See here for their programme,
& here for notes on this upcoming title
in the “yellowjacket” series.
reading at FAMILIAR TREES
29/04/23
80 Railroad St
Great Barrington, MA
17:00-19:00 (EST)


familiartrees.com
kyra-simone.com / tenementpress.com/palace-of-rubble
lucy-ives.com / graywolfpress.org/books/life-everywhere
17/03/23
SJ Fowler’s MUEUM shortlisted
for the REPUBLIC OF CONSCIOUSNESS
PRIZE FOR SMALL PRESSES 2023
MUEUM deftly toes the line between public and private life, the mundane and the fantastical. It is a funny, disturbing, subversive take on the human being as part of the institution, both in service to the public and invisible to it. In all its absurdity it reveals a truth which can only be felt while swimming through its pages. Tenement Press's book covers are bright, its future brighter as it marks itself as an ambitious publisher of poetry, prose and everything in between.
A word from the judge,
Vanessa Onwuemezi
See here for an interview between
Tenement’s publisher and editor,
Dominic Jaeckle and 3AM Magazine’s fiction editor,
Daniel Davis Wood, on the editorship and publication
of Fowler’s novella ...
![]()
15/03/23
SJ Fowler’s MUEUM shortlisted
for the REPUBLIC OF CONSCIOUSNESS
PRIZE FOR SMALL PRESSES 2023
MUEUM deftly toes the line between public and private life, the mundane and the fantastical. It is a funny, disturbing, subversive take on the human being as part of the institution, both in service to the public and invisible to it. In all its absurdity it reveals a truth which can only be felt while swimming through its pages. Tenement Press's book covers are bright, its future brighter as it marks itself as an ambitious publisher of poetry, prose and everything in between.
A word from the judge,
Vanessa Onwuemezi
See here for an interview between
Tenement’s publisher and editor,
Dominic Jaeckle and 3AM Magazine’s fiction editor,
Daniel Davis Wood, on the editorship and publication
of Fowler’s novella ...

Fowler’s debut novella, MUEUM, appears on the 2023 shortlist alongside
Missouri William’s The Doloriad (Dodo Ink),
Thuận’s Chinatown (translated by Nguyễn An Lý, Tilted Axis),
Nate Lippens’ My Dead Book (Pilot Press),
& Sheena Patel’s I’m a Fan (Rough Trade Books).
republicofconsciousness.com
Missouri William’s The Doloriad (Dodo Ink),
Thuận’s Chinatown (translated by Nguyễn An Lý, Tilted Axis),
Nate Lippens’ My Dead Book (Pilot Press),
& Sheena Patel’s I’m a Fan (Rough Trade Books).
republicofconsciousness.com
15/03/23
Reza Baraheni’s LILITH
PREORDER HERE
Baraheni is a literary man, so his revolt took the form of breathing
“reality and harshness” into the Persian language,
and turning it against his oppressors.
Kirkus Reviews
Iran's finest poet ...
Harper's Magazine
[Baraheni’s] vision was not confined to Iran. He was instrumental in having the wording of charter of PEN International changed to make it more universal. Its first words used to be: “Literature, national though it may be in origin, knows no frontiers and must remain common currency among people in spite of political or international upheavals.” He proposed deleting the words, “national though it be in origin.” That simple yet profound change was approved at the 2003 PEN Congress in Mexico City, the first change to the document since it was agreed to in 1948. The revised Charter now reads: “Literature knows no frontiers...”
Haroon Siddiqui, former president of PEN Canada,
in tribute to Baraheni on his death in 2022,
PEN International
“reality and harshness” into the Persian language,
and turning it against his oppressors.
Kirkus Reviews
Iran's finest poet ...
Harper's Magazine
[Baraheni’s] vision was not confined to Iran. He was instrumental in having the wording of charter of PEN International changed to make it more universal. Its first words used to be: “Literature, national though it may be in origin, knows no frontiers and must remain common currency among people in spite of political or international upheavals.” He proposed deleting the words, “national though it be in origin.” That simple yet profound change was approved at the 2003 PEN Congress in Mexico City, the first change to the document since it was agreed to in 1948. The revised Charter now reads: “Literature knows no frontiers...”
Haroon Siddiqui, former president of PEN Canada,
in tribute to Baraheni on his death in 2022,
PEN International

Forthcoming this Spring, a new entry in Tenement's "Yellowjacket" series (as designed by Traven T. Croves), Reza Baraheni's novella Lilith; a lyrical prism of prose and verse.
Lilith is an irreducibly subversive work in which the archetypal female demon of the night gives a youthfully irreverent, viscerally wise voice to the poet’s rebellious inquisitiveness (as she says, ‘I think therefore I am other’) while at the same time metaphorically embodying the fate of the outcast and the state of exile. The poet achieves this (in little more than a hundred pages) by disrupting temporal unity in the interaction of mythical figures, and by introducing elements of language-magic that hark back to poetry’s original reality-making function.
In 2006, Lilith was adapted for the theatre and produced in France and Geneva by Thierry Bedard (under the title Exilith); the novella has thus far only been published in France (Fayard, 2007) in the brilliant French translation by Clément Marzieh, and no edition of it has ever been published in Persian. Indeed, the original manuscript appears to have been lost. The Tenement translation is anchored in Marzieh’s version, fully authorised by Baraheni himself, and also—as afterword—includes Baraheni’s poem ‘Daf,’ as translated by Baraheni and poet Stephen Watts.
![]()
Publishing 26/05
Reza Baraheni (1935-2022) is one of the twentieth century’s major writers, whose work transverses poetry, novels and essays. With more than sixty books of poetry, fiction, literary theory and criticism to his name (oft-cited as a “founder of modern literary criticism in Iran,” The Washington Post), he is revered as a key figure in contemporary Persian literary culture. Baraheni’s works have been translated into several languages, and he has taught at universities in Iran, the United States, and Canada. Imprisoned under the Shah in 1973, he was arrested in Tehran; Baraheni claimed he was tortured and kept in a solitary confinement for 104 days—see God’s Shadow, Prison Poems (Indiana University Press, 1976), and The Crowned Cannibals (Random House, 1977)—and his involvement in the formation of the Consulting Assembly of the Writers Association of Iran necessitated his exile from the Islamic Republic. In Sweden, and in the United States thereafter, he joined the American branch of the International PEN, working very closely with such authors and poets as Edward Albee, Allen Ginsberg, and Richard Howard at PEN’s Freedom to Write Committee. With Kay Boyle, Baraheni acted as the Honorary Chair of the Committee for Artistic and Intellectual Freedom (CAIFI) to release Iranian writers and artists from prison. A celebrated and insightful commentator on literary freedom(s), his prose and poetry has been published in such periodicals as Time Magazine, The New York Times, The New York Review of Books, and The American Poetry Review. Eventually settling in Canada, Baraheni lived in exile in Toronto, and held post as a visiting professor at the University of Toronto’s Centre for Comparative Literature and as president of PEN Canada (2001-2003).
Lilith is an irreducibly subversive work in which the archetypal female demon of the night gives a youthfully irreverent, viscerally wise voice to the poet’s rebellious inquisitiveness (as she says, ‘I think therefore I am other’) while at the same time metaphorically embodying the fate of the outcast and the state of exile. The poet achieves this (in little more than a hundred pages) by disrupting temporal unity in the interaction of mythical figures, and by introducing elements of language-magic that hark back to poetry’s original reality-making function.
In 2006, Lilith was adapted for the theatre and produced in France and Geneva by Thierry Bedard (under the title Exilith); the novella has thus far only been published in France (Fayard, 2007) in the brilliant French translation by Clément Marzieh, and no edition of it has ever been published in Persian. Indeed, the original manuscript appears to have been lost. The Tenement translation is anchored in Marzieh’s version, fully authorised by Baraheni himself, and also—as afterword—includes Baraheni’s poem ‘Daf,’ as translated by Baraheni and poet Stephen Watts.

Publishing 26/05
Reza Baraheni (1935-2022) is one of the twentieth century’s major writers, whose work transverses poetry, novels and essays. With more than sixty books of poetry, fiction, literary theory and criticism to his name (oft-cited as a “founder of modern literary criticism in Iran,” The Washington Post), he is revered as a key figure in contemporary Persian literary culture. Baraheni’s works have been translated into several languages, and he has taught at universities in Iran, the United States, and Canada. Imprisoned under the Shah in 1973, he was arrested in Tehran; Baraheni claimed he was tortured and kept in a solitary confinement for 104 days—see God’s Shadow, Prison Poems (Indiana University Press, 1976), and The Crowned Cannibals (Random House, 1977)—and his involvement in the formation of the Consulting Assembly of the Writers Association of Iran necessitated his exile from the Islamic Republic. In Sweden, and in the United States thereafter, he joined the American branch of the International PEN, working very closely with such authors and poets as Edward Albee, Allen Ginsberg, and Richard Howard at PEN’s Freedom to Write Committee. With Kay Boyle, Baraheni acted as the Honorary Chair of the Committee for Artistic and Intellectual Freedom (CAIFI) to release Iranian writers and artists from prison. A celebrated and insightful commentator on literary freedom(s), his prose and poetry has been published in such periodicals as Time Magazine, The New York Times, The New York Review of Books, and The American Poetry Review. Eventually settling in Canada, Baraheni lived in exile in Toronto, and held post as a visiting professor at the University of Toronto’s Centre for Comparative Literature and as president of PEN Canada (2001-2003).
10/03/23
Tenement Press presents
A VOYAGE TO W. SUNSET BOULEVARD
Jeffrey Vallance is our Philip Marlowe, quite literally our private eye, with a private vision of pied beauty and sacred banality that extends to the horizon.
Dave Hickey
An evening to celebrate the Tenement Press publication of Jeffrey Vallance’s selected esoteric writings, A Voyage to Extremes, featuring readings from Vallance’s Voyage (and conversation on) the collection’s authorship, and a panel discussion with Vallance’s comrades and collaborators, Doug Harvey, Dave Shulman, and Daniel Rolnik.
Stories Books & Café
1716 W. Sunset Blvd.
Los Angeles, CA 90026
storiesla.com

ORDER HERE
Jeffrey Vallance was born in 1955 in Redondo Beach, CA. In 1979, he received a B.A. from CSUN and in 1981 an MFA. from Otis. His work blurs the lines between object making, installation, performance, curating and writing and his projects are often site-specific, such as burying a frozen chicken at a pet cemetery; traveling to Polynesia to research the myth of Tiki; having audiences with the king of Tonga; the queen and president of Palau and the presidents of Iceland; creating a Richard Nixon Museum; traveling to the Vatican to study Christian relics; installing an exhibit aboard a tugboat in Sweden; and curating shows in the museums of Las Vegas (such as the Liberace and Clown Museum). In Lapland Vallance constructed a shamanic “magic drum.” In Orange County, Mr. Vallance curated the only art world exhibition of the Painter of Light entitled Thomas Kinkade: Heaven on Earth. In 1983, he was host of MTV’s The Cutting Edge and appeared on NBC’s Late Night with David Letterman. In 2004, Vallance received the prestigious John Simon Guggenheim Memorial Foundation award. In addition to exhibiting his artwork, Vallance has written for such publications and journals as Art Issues, Artforum, the LA Weekly, Juxtapoz, Frieze and the Fortean Times. He has published over ten books including Blinky the Friendly Hen, The World of Jeffrey Vallance: Collected Writings 1978-1994, Christian Dinosaur, Art on the Rocks, Preserving America’s Cultural Heritage, Thomas Kinkade: Heaven on Earth, My Life with Dick, Relics and Reliquaries, The Vallance Bible and Rudis Tractus (Rough Drawing). Vallance lives and works in Los Angeles.
Doug Harvey is an artist, curator, writer, and educator based in Los Angeles. His first serious piece of art criticism was ‘Jeffrey Vallance: Lateral Drawing’ published in Peter Hamilton's UCLArt zine. His most recent curatorial project was the Vallance-led Valley Plein Air Club’s Views of the Desert Lighthouse at PRJCT LA. Apparently he can not escape.
Dave Shulman is an award-winning writer and visual artist, best known for his columns and features in LA Weekly from 1994 to 2010. He lives with chronic depression and his cat, Bear, in a small cottage near the mighty Los Angeles River.
Daniel Rolnik is a co-founder of the Creativity Crisis Center.
01/02/23
Fowler’s “Yellowjacket” MUEUM longlisted
for THE REPUBLIC OF CONSCIOUSNESS
2023

(see here)
JUDGES:
Isabel Waidner,
Vanessa Onwuemezi,
& Lamorna Ash
John Smith,
LITTLE BOY (Boiler House Press);
Yewande Omotoso,
AN UNUSUAL GRIEF (Cassava Republic);
Missouri Williams,
THE DOLORIAD (Dead Ink Books);
Fatima Das,
THE LAST ONE (Hope Road);
Eva Ďurovec,
NEW MINDMAPPING FORMS (Montez Press);
Zoë Wicomb,
STILL LIFE (Peninsula Press);
Nate Lippens,
MY DEAD BOOK (Pilot Press);
Sheena Patel,
I'M A FAN (Rough Trade Books);
SJ Fowler,
MUEUM (Tenement Press);
Thuận,
translated from the Vietnamese
by Nguyễn An Lý,
CHINATOWN (Tilted Axis)

31/01/23
HELL IS THE BRITISH MUSEUM
Fowler’s MUEUM
in the LA Review of Books
Up online with the Los Angeles Review of Books, read Guy Stevenson on SJ Fowler’s MUEUM. Order a copy of the novella here, and download Fowler’s reading of the work (as first broadcast on Resonance Extra), here.

There’s a whole history of 20th-century style in here that would take a thesis to decode: from the opening section’s Steinbeck-like panorama of apocalypse through the terseness of Beckett and Pinter to the European avant-gardists Fowler references in his epigraphs. The effect leaves the mind reaching not only for clues as to what the hell is going on but also for which great writer of experimental or apocalyptic fiction that this or that passage reminds you of, which bit of theory went into each bleak statement. Rewarding but hard to relax into, the process is broken up by moments of astonishing, often disgusting realism. Cormac McCarthy–like, the narrator remembers a soldier in the mess hall, his teeth stringy with human flesh, or his own time spent stalking unspecified victims: “[W]hen I found them, their imploring did not move me […] I was not cruel […] work is work.” All of this comes backlit by the horrible history of weaponry the museum commemorates, such as “the battle axe, the Bec de Corbin, the bludgeon and club. The flail and flanged mace. The horseman’s pick and the morning star,” among other “implements of gaining information.”
[...]
A strange, absurd, difficult book by a hero of London’s poetry scene, MUEUM is disconcerting and enlightening. Reading it feels like walking beside the author through a lucid nightmare—as real and unreal as our own dreams, as illogical and packed with implication, but taken to horrendous extremes. At his best, Fowler shows us what would happen if we could freeze-frame and pursue the bits of our own daily lives that make it into our sleep states: a terrifying array of the small and menial alongside the vast, ghastly, and symbolic. Without affectation, in a voice very much his own, he comes close to the uncomfortable truth-telling of Ballard, McCarthy, Céline, and the rest of the minatory canon who form the backdrop to this remarkable fiction debut.
09/01/23
Artillery / Doug Harvey (on Vallance’s Voyage)
Over in the pages of Artillery Magazine, read Harvey’s review in full here, and order a copy of Vallance’s “bible-long” journey of spiritual (and self) discovery, A Voyage to Extremes, here.
Art historically, this ginormous yellow tome is a gold mine, providing off-the-cuff anecdotal accounts of Vallance’s legendary curatorial interventions in various off-beat thematic museums in Vegas, while elsewhere detailing extensive cross-cultural research into the religious, anthropological and philosophical significance of clowns. As promised by the subtitle, much of the work addresses spirituality, religion, shamanism and paranormal phenomenology. Richard Nixon, Thomas Kinkade, Martin Luther, Charlie Manson, Ronald McDonald, the Loch Ness Monster and other spiritual teachers all make appearances. It’s not a fluke that Vallance’s curiosity-driven ideational flow is so reminiscent of an extended Wikipedia surf.
[...]
Vallance’s Voyage to Extremes seems to me to be the most successful literary embodiment of the human cognitive structures that have evolved with the internet—not from imitation, but from pre-existing structural resonance. A playful, weightless curiosity may seem like a fey and inconsequential thing, but when it drifts across a border as if the border wasn’t there, watch out! That’s when Luther’s excrement hits the Devil’s fan!

06/01/23
A Complete MUEUM, 07/01/23
(℅ Resonance Extra)

Care of our comrades at Resonance Extra ... To conclude our season-long serialisation of SJ Fowler’s debut novella MUEUM (see here) on 07/01—morning through noon—dial into the station for a broadcast of Fowler's novella in full. Kicking off with black coffee at 09:56 on the dot, spend the day sunk in the annals, corners, and corridors of Fowler's stranger galleries.
Order a copy of the novella direct from Tenement here, catch up on the series (and assorted materials) over on the Resonance Archive here, and download Fowler’s reading of the novella for posterity here.
16/12/22
Pier Paolo Pasolini’s
La rabbia / Two Poems (℅ LitHub)
If you shout long live freedom without humility
you’re not shouting long live freedom.

Care of LitHub, see here for two poems excerpted from Cristina Viti’s translation of Pier Paolo Pasolini’s La rabbia ... ‘Anticommunist Youth Marches in Rome’ and ‘Series of Atomic Explosions.’
14/12/22
Pier Paolo Pasolini
Translated from the Italian
by Cristina Viti
La rabbia / Anger
La rabbia remains one of Pasolini’s most singular achievements, an all-consuming expression of the restless and relentless fury that defined his work and his thinking. In an age of increasingly one-dimensional political art, this most welcome volume is an urgent reminder of its dizzying possibilities.
Dennis Lim
Pasolini’s poems thrive with passion and outrage. A 20th century Dante, he grieves at inequity, feels disgusted by corruption, and wails against the evil that people do. Pasolini doesn’t render a coming paradise, but contests hate with love, meanness with generosity, and through the reality of his beautiful poems, suggests the possibility of creating a better world.
Lynne Tillman

‘Today,’ we read in La rabbia, Pasolini’s remarkable set of poems composed in 1962 to accompany his film by that title, ‘only four thousand subscribers have televised moving images in their homes; in a year they will be in the tens of thousands.’ And then the poet corrects the line: ‘No—in their millions. Millions of candidates for the death of the soul.’ Sixty years later, in the age of TikTok and Instagram, those ‘candidates’ may well be in the billions. Indeed, what gives La rabbia its uncanny accuracy is that its vision, however exaggerated and extreme, might well characterise our own moment in history. Not only ‘in my country, my country that’s called Italy’ (Pasolini’s refrain), but all over the world, the ‘noble’ solutions of the late 1940s and ‘50s, with their UN charter, their Marshall Plan, and their call for No More Wars, now seem to have been little more than Band-Aids that left things pretty much as they were. Whether he is dealing with the failed Hungarian Revolution or the Algerian War, or with the ‘new problem [that] breaks out in the world. It is called colour,’ Pasolini sees the real enemy as normality—the normality or qualunquismo that accepts things as they are. In Cristina Viti’s excellent translation, Pasolini’s anger would be devastating, were it not for the proviso that poetry can change consciousness. It is poetry, La rabbia insists, that provides the counterweight to the darkness that surrounds us.
Marjorie Perloff

05/12/22
Launching LA RABBIA
& PASOLINI / PEDRIALI:
Two Evenings at London’s
Italian Cultural Institute
Tenement Press presents
Pier Paolo Pasolini’s La rabbia / Anger
18:30, 16/01/23
The Italian Cultural Institute
39 Belgrave Square
London, SW1X 8NX
Join us in January—16.01.23—for an evening at London's Italian Cultural Institute to mark and celebrate the Tenement Press publication of Pasolini’s La rabbia / Anger in a first-time English language translation by Cristina Viti to mark the poet’s centenary.
Pasolini / Pedriali
(09/12/22–18/01/23)
The launch of the Tenement publication of Pasolini’s La rabbia will conclude a special exhibition at the Institute of works by photographer Dino Pedriali (1950-2021), curated by writer and critic Marco Belpoliti. Twenty-nine portraits of Pasolini, the photographs—taken shortly before his death in '75—portray the poet at his two homes, Sabaudia and Torre di Chia, revealing an intimacy between artist and subject in striking stills that constitute one of the last traces of one of the most significant writers and intellectuals of the Novecento.

On 09.12.22 (from 18:00 onwards), join us at the Institute to mark the exhibition's opening with curator Belpoliti and Robert Gordon (Serena Professor of Italian and Professor of Modern Italian Culture, University of Cambridge) in conversation.
This exhibition is free,
but registration for the opening is essential;
see here to book a ticket ...
11/11/22
Three Readers at Conway Hall
for the Small Publisher’s Fair
A record of a reading in the Green Room on 28/10, with SJ Fowler reading from MUEUM; Kyra Simone, from Palace of Rubble; and Cristina Viti, reading from her translation of Pier Paolo Pasolini’s La rabbia / Anger ...
24/10/22
Jeffrey Vallance
A Voyage to Extremes
Selected Spiritual Writings
Announcing a new entry in Tenement's “yellow-jacket” series; collecting Vallance's published and unpublished essays, articles and fragments ranging from 1990 to 2022, A Voyage to Extremes offers an illustrated survey of the seemingly limitless breadth of Jeffrey Vallance’s esoteric writings.


Jeffrey Vallance is our Philip Marlowe, quite literally our private eye, with a private vision of pied beauty and sacred banality that extends to the horizon.
Dave Hickey
Jeffrey Vallance is one of the world's most original, thought-provoking and entertaining writers on visual culture—his essays are works of art in themselves.
Ralph Rugoff
If Los Angeles were Paris, Jeffrey Vallance would surely be declared a national treasure.
Jan Tumlir, Artforum
Vallance, appearing on
Late Night with David Letterman
(NBC, 1983)
Out now via Tenement Press, for a further word
on this publication, see here.
ORDER HERE
04/10/22
Kyra Simone
Palace of Rubble
Announcing the publication of the sixth "yellow-jacket" from Tenement Press; a debut collection of prose works by Simone, with accompanying photographs by artist John Divola, composed primarily of single words culled each day from the New York Times, among other news sources.
Out now via Tenement Press, for a further word on this publication, see here.
ORDER HERE


Majestic flights of fancy spun around ravaged landscapes
and savaged realities, these are remarkable prose poems
for the 21st century.
Chloe Aridjis
Like traditional methods of salting, pickling, drying, and smoking, Palace of Rubble saves transitory substance from expiration. From the stuff we unfold in the morning and throw in the recycling bin at night, Simone coaxes the rhythms of cyclical life, the patterns and variations on patterns that define the sphere of the daily, that baseline on which extraordinary events and crises exert their pressure. The world she constructs is recognizable, textured, gently humorous—but also luminously, piercingly exact, possessed of the strangeness of seeing something for the first or the last time—a lamp store in Chinatown is “a gallery of lights all blinking in dissonant rays of color,” the disassembling of a famous church that will be put together a few miles up the road is rendered via “the villagers holding pieces of it in their hands as they head over the hill in a great procession into the distance.” As the author herself puts it, these texts retain “a distant ember of the world from which they were first generated,” an effect that can feel for the reader like peering into a place that is both familiar and unknown, gazing at this place through the blur and distance implied by the passage of large swathes of time, physical displacement or shifts in ontological perspective.
Alexandra Kleeman
Simone, reading four (of the forty-nine) ‘palaces’ collated in this edition; McNally Jackson Books (New York), 28/09/22.
01/10/22
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16/09/22
BIG DOOM ABOVE ME
45 Minutes in SJ Fowler’s MUEUM
A special-broadcast with Montez Press
22/09/22, 13:55
12/09/22
Pier Paolo Pasolini Tenement & Resonance Extra
present SJ Fowler’s MUEUM
A mesmerising, bravura meditation on work, power, and subjugation...
Luke Kennard
Broadcasting on Resonance Extra at 13:00, 01/10/22, the first instalment in a special four-part, unabridged serialisation of SJ Fowler’s debut novella, MUEUM—as read by the author—recorded on location in Resonance’s South London studios.
See here.
present SJ Fowler’s MUEUM
A mesmerising, bravura meditation on work, power, and subjugation...
Luke Kennard
Broadcasting on Resonance Extra at 13:00, 01/10/22, the first instalment in a special four-part, unabridged serialisation of SJ Fowler’s debut novella, MUEUM—as read by the author—recorded on location in Resonance’s South London studios.
See here.
SJ Fowler & Gareth Evans
The novella will air in monthly instalments...
I (01/10/22)
II (05/11/22)
III (03/12/22)
IV (07/01/23)
I (01/10/22)
II (05/11/22)
III (03/12/22)
IV (07/01/23)
Post-broadcast, all episodes will be archived on Resonance Extra (see here), and will be available to download direct from Tenement following the season’s finale in January. A paper copy of Fowler’s novella can be ordered direct from Tenement Press here.
The Resonance series launches with an evening’s affair at Brick Lane Books (19:00, 05/20/22) with readings from Fowler, Iain Sinclair, Choe Aridjis, and Chris McCabe; see here for tickets.
The Resonance series launches with an evening’s affair at Brick Lane Books (19:00, 05/20/22) with readings from Fowler, Iain Sinclair, Choe Aridjis, and Chris McCabe; see here for tickets.

Fowler recording
in the Resonance Chapel,
Spring 2022
16/09/22
BIG DOOM ABOVE ME
45 Minutes in SJ Fowler’s MUEUM
A special-broadcast with Montez Press
22/09/22, 13:55
Broadcasting over on Montez Press radio, an hour’s worth of radio on and around Fowler’s recent Tenement title, MUEUM (see here). A forty-five minute long snowstorm of pages, BIG DOOM ABOVE ME features readings from the novella, from a suite of unpublished poems that preceded it, and concludes with a brief lecturette from the author. BIG DOOM ABOVE ME is introduced by a brief exchange between Fowler and author Eley Williams (for Fowler and Williams’ full conversation, see here).
12/09/22
La rabbia / Anger


La rabbia is about experiences which both question and answer leave aside. About the coldness of winter for the homeless. About the warmth that the remembering of revolutionary heroes can offer, about the irreconcilability of freedom and hate, about the peasant flair of Pope John XXIII whose eyes smile like a tortoise, about Stalin’s faults which were our own faults, about the devilish temptation of thinking any struggle is over, about the death of Marilyn Monroe and how beauty is all that remains from the stupidity of the past and the savagery of the future, about how Nature and Wealth are the same thing for the possessing classes, about our mothers and their hereditary tears, about the children of children of children, about the injustices that follow even a noble victory, about the little panic in the eyes of Sophia Loren when she watches a fishermen’s hands cutting open an eel…
John Berger
A hundred pages of elegiac prose and verse, a texture of moving images, photographs and painting reproductions: in the workshop for La rabbia, Pier Paolo Pasolini experimented for the first time with a form differing from the conventions of traditional film narrative and documentary. In his own words, what he wanted to create was ‘a new cinema genre. To make a poetic and ideological essay with new sequences.’ La rabbia was meant as ‘an act of indignation against the unreality of the bourgeois world and its consequent historical irresponsibility—a record of the presence of a world that, unlike the bourgeois world, has a deep grasp of reality. Reality: a true love of tradition, as only revolution can give.’
Roberto Chiesi
For a further word on this collection,
see here.
John Berger
A hundred pages of elegiac prose and verse, a texture of moving images, photographs and painting reproductions: in the workshop for La rabbia, Pier Paolo Pasolini experimented for the first time with a form differing from the conventions of traditional film narrative and documentary. In his own words, what he wanted to create was ‘a new cinema genre. To make a poetic and ideological essay with new sequences.’ La rabbia was meant as ‘an act of indignation against the unreality of the bourgeois world and its consequent historical irresponsibility—a record of the presence of a world that, unlike the bourgeois world, has a deep grasp of reality. Reality: a true love of tradition, as only revolution can give.’
Roberto Chiesi
For a further word on this collection,
see here.
15/07/22
Kyra Simone
Palace of Rubble
Palace of Rubble
Forthcoming in the Autumn,
the sixth title from Tenement Press,
a collection of one-sided stories,
with photographs by John Divola ...


PREORDER HERE
Like traditional methods of salting, pickling, drying, and smoking, Palace of Rubble saves transitory substance from expiration. From the stuff we unfold in the morning and throw in the recycling bin at night, Simone coaxes the rhythms of cyclical life, the patterns and variations on patterns that define the sphere of the daily, that baseline on which extraordinary events and crises exert their pressure.
Alexandra Kleeman
Kyra Simone’s Palace of Rubble is a collection of one-page stories composed primarily of single words culled each day from the New York Times, among other news sources. Written under constraint in the tradition of Oulipo, these hybrid works of prose are reconstructions that no longer resemble the original texts, yet draw from the same reservoir of vocabulary, conveying new images and ideas, while preserving some distant ember of the universe from which they were first generated. Initially inspired by a photograph of one of Saddam Hussein’s demolished palaces printed on the cover of a newspaper Simone found discarded on a café table during the fall of Baghdad in 2003, Palace of Rubble has since evolved into an accumulation of texts invoked by a historical moment spanning the eras of Bush, Obama, Trump, and into the present day. Offering surreal glimpses of what might be identified as echoes of a post-Republic America, an imagined Middle East, and some other unnamed and unreachable world, it chronicles a vivid landscape of crumbling towers and heart-broken animals, eclipses, comets, and lovers in abandoned rooms, still searching for beauty amidst the ruins of the catastrophe bequeathed to them.
See here for a further word
on Simone’s collection.
08/07/22
Pier Paolo Pasolini
La rabbia / Anger
Translated from the Italian by Cristina Viti
Edited by Dominic Jaeckle,
Cristina Viti & Stephen Watts
In a first-time English language translation
by Cristina Viti to mark
the poet’s centenary, Tenement Press
will publish Pier Paolo Pasolini’s
groundbreaking, filmic work
of prose and verse, La rabbia / Anger ...
by Cristina Viti to mark
the poet’s centenary, Tenement Press
will publish Pier Paolo Pasolini’s
groundbreaking, filmic work
of prose and verse, La rabbia / Anger ...
Announcing the last Tenement title of 2022,
forthcoming in December...
forthcoming in December...
Why is our life dominated by discontent, by anguish, by the fear of war, by war? In order to answer this question I have written La rabbia, not following a chronological or perhaps even a logical thread, but only my political reasons and my poetic sense.
Pier Paolo Pasolini
Written in response to producer Gastone Ferranti’s request for his comments on a set of newsreel items, the poet would respond with a montage of his own. Via the unfolding of a chrysalis of images, in La rabbia (1963), Pasolini’s lens pans over Soviet repression in Hungary; the Cuban revolution; (the utopian object of) space exploration; political imprisonment in Algeria; the liberation of the former European colonies; the election of Pope John XXIII; the prospect of revolution in Africa and the Middle East; in Europe and in Latin America... Here, we’ve a panoply of photorealist intimations of Pasolini’s ‘poetic sense.’ The death of Marilyn Monroe crests as an idea in this tidal pooling of reflections, and as the poet’s line lights out for conceptual rhymes and counterpoints.
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In Viti’s translation, the weave of prose and poetry that forms La rabbia portrays the vitality of Pasolini’s work in its capacity to speak to both the specifics of his contexts, the character of our own present tense, and the ironic fact of a life lived against the gulf of discontent in its myriad forms.
Pier Paolo Pasolini
Written in response to producer Gastone Ferranti’s request for his comments on a set of newsreel items, the poet would respond with a montage of his own. Via the unfolding of a chrysalis of images, in La rabbia (1963), Pasolini’s lens pans over Soviet repression in Hungary; the Cuban revolution; (the utopian object of) space exploration; political imprisonment in Algeria; the liberation of the former European colonies; the election of Pope John XXIII; the prospect of revolution in Africa and the Middle East; in Europe and in Latin America... Here, we’ve a panoply of photorealist intimations of Pasolini’s ‘poetic sense.’ The death of Marilyn Monroe crests as an idea in this tidal pooling of reflections, and as the poet’s line lights out for conceptual rhymes and counterpoints.

In Viti’s translation, the weave of prose and poetry that forms La rabbia portrays the vitality of Pasolini’s work in its capacity to speak to both the specifics of his contexts, the character of our own present tense, and the ironic fact of a life lived against the gulf of discontent in its myriad forms.
SEE HERE
28/06/22
SJ Fowler,
MUEUM
A fourth title from Tenement Press,
and the first work of fiction in
the yellow-jacket series,
Fowler’s MUEUM is available now ...
ORDER HERE
Down in the mire of London's grimpen, above the drained marshlands and drift of the fatbergs, exist the cultural centres that shine like jewels in the mudcake of the greatest city on earth: London's museums. Their great domes are craniums through which pass the crazy, unbidden thoughts of a culture always moving closer to madness.
With the apocalyptic vision of Ballard and the acerbic attitude of Céline, Mueum scatters human detritus over the shiny Perspex of our most dearly loved vitrines. Rimbaud's visits to the British Museum reading room come to mind: scratching himself down for lice as he flicked through the latest encyclopaedias. And Bataille, assembling curios so strange the Surrealists wouldn't touch them wearing gloves.
MUEUM is a novel of watchers and the watched, a testament to the fact that people are always more interesting—and far stranger—than things. And nothing is stranger than people's obsession with touching objects from the questionable past.
Prepare to travel the world, from Rome to Japan, with a travelling troupe of unforgettable characters who walk the world each day but never leave a building. SJ Fowler's MUEUM is an essential artefact for our troubled times, proving that travel of the mind is always more powerful than the real thing.
Chris McCabe


An autumn programme of events of events on (and around) Fowler’s publication will be announced soon.
See here for a further word on Fowler’s novella.
28/06/22
Jeffrey Vallance
A Voyage to Extremes:
Selected Spiritual Writings
Jeffrey Vallance is one of the world's most original, thought-provoking and entertaining writers on visual culture—his essays are works of art in themselves.
Ralph Rugoff
PREORDER HERE
A fifth title in Tenement’s run of “yellowjackets,” a feature-length anthology from the artist. Collecting published and unpublished essays, articles and fragments ranging from 1990 to 2022, A Voyage to Extremes offers an illustrated survey of the seemingly limitless breadth of Jeffrey Vallance’s esoteric writings.


Shipping worldwide come August, see here for a further word on this unique anthology of Vallance’s writings.
06/05/22
SJ Fowler
MUEUM

A fourth title from Tenement Press,
and a first fiction in the “yellowjacket” series,
a debut novella from the acclaimed poet and artist ...
PREORDER HERE
A novella of ludic menace, SJ Fowler’s M U E U M is a puzzle without pieces. Following the grand tradition of the Nestbeschmutzer authors (one who dirties their own nest, vis-à-vis Bernhard and Gombrowicz, et al), M U E U M pictures the amassing and dismantling of a public edifice, brick by brick, in prose that refracts and breaks the light emitted by history’s ornaments and history’s omissions.
Suspended in unknowable time there is a city; in the city, an event, a conflict. Amid the ash, fog and cloud, there is the manufacturing of a space—a many-winged museum on the make. On the plinths, exquisite remnants of life present and past—adorning the walls, portraits of gentle torture sit hand in hand with brutal and statuesque portrayals of camaraderie—and the gift-shop is littered with plastic curios and gilt revulsion. Goya, as atmosphere rather than artwork, hovers amid iron age ghosts, bronzed ideas, and antiqued anxiety.
Pacing the halls, the atrium and corridor, there are those who keep the museum—the various midwives to the building’s demands—and those, like the reader, who merely visit; those who pass through the vacant galleries adrift with questions. What can I touch? What is next to Egypt? What is hidden in Mesopotamia? Where do we eat? Drink? Where is the entrance? The exit? In Fowler’s curt, spiralling and acute work, the museum’s keepers will answer.
28/06/22
Yasmine Seale & Robin Moger,
Agitated Air: Poems After Ibn Arabi

ORDER HERE
A third title from Tenement Press.
In this heavenly and heartbreaking collection, the nasibs, preludes or love-songs of Mohieddin Ibn Arabi are translated to vividly retell the human erotics of divine love. The dialogic method of the translator-poets means that each poem is a collaborative attempt to retrieve a passion that is elusive and ‘steady;’ set to ‘sliding scales,’ the lyric like a ‘waterski’ on the distance between them. The imagery is touching and evocative, sweet and spiritual. The reader is reminded of a love that is active and ongoing, told in a linguistic tense that subtly, tragically, holds the sought for moment away from us. We may never find anything that gets as close to the deferring grammar of love as the phrase, ‘when held.’
Through these translations of ancient poems, we remember that love produces a relationship with time. The lover of a love poem is looking forward to it, already in its wake, mourning and restarting to yearn. It’s like a spiritual lesson in how to love God, where the erotics of times’ surfaces react to each other, causing a space like grace, and a situated feeling ‘Regardless of where you are’. In nuanced and humble syntax, Seale and Moger recreate in English the event of fresh longing in every word, as accurate as it is provisional. They do this with tender and careful poetry, finding in the original a fleeting but piercing voice, as if from underneath another voice, fragmented and reaching for its reply. Small elliptic lines, ‘no fun being locked here,’ create all the more agitated air for intimacy.
Love told as poem is always an act of devotion that is always in the a priori of wanting. Here the poems offer details of a life already lived together and prepared for loss. The lovers are longed for in third-person, with ‘he’ and ‘she’ passed back and forth, so, rather than the lyric emphasis of you spoken to in the Song of Solomon, these poems create a distant field of someone off the page, the one who is loved but isn’t there.
Holly Pester
Seale & Moger will read from Agitated Air (& discuss their collaboration with Marina Warner) in an online event hosted by London's Warburg Institute on April 27th;
see here for (free) tickets.
08/12/21
Kyra Simone,
Palace of Rubble
Announcing a new Tenement title for 2022, a collection of one-sided stories from Kyra Simone composed primarily of single words culled each day from the New York Times, among other news sources.
SEE HERE


01/12/21
SJ Fowler
M U E U M


Announcing a new Tenement title for 2022,
SJ Fowler’s MUEUM; a debut novella from the poet.
SEE HERE
22/11/21
Yasmine Seale
& Robin Moger
Agitated Air: Poems After Ibn Arabi


Forthcoming in February, 2022, Seale & Moger’s collaborative collection
is now available for preorders; for further word on this title, see here.
PREORDER HERE
09/11/21
EVENT / JOAN BROSSA
CENTRE FOR CATALAN STUDIES,
QUEEN MARY, LONDON
24.11.21 / 19:00
An evening celebrating Tenement’s 2021 publication of The Tumbler / El saltamartí (translated from the Catalan by Cameron Griffiths), featuring readings, reminiscences, and a reading of a new, commissioned work from Stephen Watts in response to Brossa’s writings and contexts. This event is free, but advance booking is essential...
See here for tickets.

23/10/21
Stanley Schtinter, et al
The Liberated Film Club
Featuring works by Shezad Dawood; Chris Petit; Andrea Luka Zimmerman; William Fowler; John Rogers; Ben Rivers; Gideon Koppel; Gareth Evans; Adam Roberts; John Akomfrah; Shama Khanna; Tony Grisoni; Damien Sanville; Mania Akbari; Xiaolu Guo; Sean Price Williams; Chloe Aridjis; Athina Tsangari; Juliet Jacques; Anna Thew; Adam Christensen; Laura Mulvey; Astra Taylor; Dennis Cooper; Stewart Home; Stephen Watts; Dan Fox; Miranda Pennell; Elena Gorfinkel; & Tai Shani.
ORDER HERE
LAUNCHING IN LONDON 23/10
LUX in the AFTERNOON
(see here)
CLOSE-UP FILM CENTRE
in the EVENING
(see here)
° For Matilda Munro’s take on the Club in Sight & Sound,
see here.
° For Jonathan Rosenbaum on the Club for Screenslate,
see here.

15/04/21
Joan Brossa
El saltamartí / The Tumbler
Translated from the Catalan by Cameron Griffiths
Edited by Cameron Griffiths & Dominic Jaeckle
ORDER HERE
