{"title":"Tenement Press","description":"","products":[{"product_id":"agitated-air","title":"Agitated Air","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eYasmine Seale \u0026amp; Robin Moger\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBorn in Murcia in 1165, Ibn Arabi was a prolific Muslim philosopher and poet. He travelled extensively before settling in Damascus, where he died in 1240. \u003c\/span\u003e\u003ci\u003eTarjuman al-Ashwaq\u003c\/i\u003e\u003cspan\u003e, or \u003c\/span\u003e\u003ci\u003eThe Interpreter of Desires\u003c\/i\u003e\u003cspan\u003e, is a cycle of sixty-one Arabic poems. They speak of loss and bewilderment, a spiritual and sensual yearning for the divine, and a hunger for communion in which near and far collapse.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAgitated Air\u003c\/i\u003e\u003cspan\u003e is a correspondence in poems between Istanbul and Cape Town, following the wake of \u003c\/span\u003e\u003ci\u003eThe Interpreter of Desires\u003c\/i\u003e\u003cspan\u003e. Collaborating at a distance, Yasmine Seale and Robin Moger work in close counterpoint, making separate translations of each poem, exchanging them, then writing new poems in response to what they receive. The process continues until they are exhausted, and then a new chain begins.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTranslated and retranslated, these poems fray and eddy and, their themes of intimacy across distance made various, sing back and forth, circling and never landing. Absence and approach, knowing and unknowing, failure and repetition: Ibn Arabi’s cycle of ecstatic love shimmers with turbulence. Seale and Moger move into and against these contending drifts, finding in the play of dissatisfaction and endurance a prompt for new poetry. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside the writer and translator Kate Briggs, Yasmine Seale appeared at Perdu on Thursday 16th February 2023. \u003c\/span\u003e\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":43676248834262,"sku":"","price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/products\/Screenshot2022-10-27at13.00.41.png?v=1666868470"},{"product_id":"el-guant-de-plastic-rosa-the-pink-plastic-glove","title":"El guant de plàstic rosa \/ The pink plastic glove","description":"\u003cp\u003eDolors Miquel (trans. 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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.\u003c\/p\u003e\n\u003cp\u003eVia a series of interlinked vignettes, here we’ve a book in which \u003cem\u003eManhattan Melodrama\u003c\/em\u003e, 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 \u003cem\u003eThe Graduate\u003c\/em\u003e and dies thereafter. In which Bette Davis—given her break by Cukor—watches herself in \u003cem\u003eWaterloo Bridge\u003c\/em\u003e (the 1940 remake Cukor had been meant to direct), before travelling to France and failing to make it back to Hollywood. 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Via the unfolding of a chrysalis of images, in \u003cem\u003eLa rabbia\u003c\/em\u003e (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. The death of Marilyn Monroe crests as an idea in this tidal pooling of reflections, as the poet's line lights out for conceptual rhymes and counterpoints.\u003c\/p\u003e\n\u003cp\u003eIn 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. 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Chauvet—akin to Olive Moore, Sean Bonney and Lisa Robertson—takes the nineteenth-century French decadent as a contemporary accomplice for aesthetic and linguistic misbehaviour. Walter Benjamin once wrote of Baudelaire that he is ‘\u003c\/span\u003e\u003ci\u003eder geheime Architekt der Moderne\u003c\/i\u003e\u003cspan\u003e,’ and in Chauvet’s hands, those foundations are made porous, unbuilt into cast shadows, into ribbons, into veins streaming across the page. Accompanied by scans of the French poems and Chauvet’s shadow photography, what \u003c\/span\u003e\u003ci\u003eCyclamen\u003c\/i\u003e\u003cspan\u003e ultimately offers us is a regenerative rewilding of the English language: a wondrous terrain ringed by vines of unruly syntax and dotted with the fruit of words refusing domestication by any single tongue.' – Mia You\u003c\/span\u003e\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":52730502218058,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/IMG_1523.jpg?v=1757147459"},{"product_id":"٤٨-كغم","title":"48Kg. ٤٨ كغم","description":"\u003cp\u003e\u003cspan\u003e48Kg. ٤٨ كغم\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eBatool Abu Akleen\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eA debut collection from the Palestinian poet: a bilingual assembly of forty-eight poems in which each work accounts for a single kilogram; a body’s mass; a testament to a sieged city; a vivid and visceral voicing of the personal and the public in the midsts of unspeakable violence.\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":52731353235786,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/48Kg_Cover_v2.jpg?v=1757161161"},{"product_id":"a-horse-at-the-door-1","title":"A Horse at the Door","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWadih Saadeh\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA chronology of poems selected \u003c\/span\u003e\u003cspan\u003e\u0026amp; translated by \u003c\/span\u003eRobin Moger\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e'Memories? 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The crowned heads of Europe and the Pope marooned on an island fending for themselves! Just imagine!\" - Peter Bush\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":52872025211210,"sku":null,"price":22.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/TenementPress_AnarchistPlaybook_CoverDraft_47084ac6-f51f-498f-b491-4bd99b6bab36.jpg?v=1758721400"},{"product_id":"envois","title":"Envois","description":"\u003cp\u003eSharon Kivland\u003c\/p\u003e\n\u003cp\u003eA novel-in-correspondence, a neither\/nor publication defying easy category—a book that rests somewhere between fiction and memoir—\u003ci\u003eEnvois\u003c\/i\u003e is a collection of letters sent to Sharon Kivland by the French psychoanalyst Jacques Lacan during the course of their long and stormy love affair from 1953 until his death in 1981.\u003c\/p\u003e\n\u003cp\u003e'Reflexive, obsessive, and always teetering on the edge of abstraction, this is a text of experimental brilliance. \u003ci\u003eEnvois\u003c\/i\u003e is a chameleon, a scholar, a lover, and a clown.' - Helen Charman\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":52895376769354,"sku":null,"price":22.5,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/Envois_Cover.jpg?v=1758895507"},{"product_id":"all-my-dead-jesters","title":"All My Dead Jesters","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eNadia de Vries\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA suite of swans that cannot swim; a thatch of old works and new; of jokes that landed well, and others that sank; a paean to Nike as she refutes her name, and trades ‘\u003c\/span\u003e\u003cspan class=\"small-caps\"\u003eVictory!\u003c\/span\u003e\u003cspan\u003e’ as any connotation for the aura and atmosphere of \u003c\/span\u003e\u003ci\u003eneîkos\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e\/ \u003c\/span\u003e\u003ci\u003estrife\u003c\/i\u003e\u003cspan\u003e; fifty-two hands on a tired, analogue body.\u003c\/span\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003ci\u003eAll My Dead Jesters\u003c\/i\u003e is an assembly of select poems previously published in de Vries’ first two English language collections—\u003ci\u003eDark Hour\u003c\/i\u003e and\u003ci\u003e I Failed to Swoon \u003c\/i\u003e(Dostoyevsky Wannabe, 2018 and 2021 respectively). These old works have been lightly revised for republication, and are paired with poems drawn from a manuscript-in-process to institute an autotelic kaleidoscope of some ten years worth of work in verse. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ede Vries’ poems are spare, terse and epigrammatical—a barroom Bashō—dedicated to the glimmer of a compact glance; the chance, glamour and negative capability of a passing thought; and the slow drip of liquid crystal as colours our present. \u003ci\u003eAll My Dead Jesters\u003c\/i\u003e is a torch song for our ‘poor subjectivity,’  a slow dance with sour times, a ‘[steering] \u003ci\u003eaway from\u003c\/i\u003e [the] \u003ci\u003egratuitous provocation\u003c\/i\u003e’ that litters our contemporary outlook.\u003c\/span\u003e\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":61329432052042,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/image_1.jpg?v=1773403906"},{"product_id":"hares-on-the-mountain","title":"Hares on the Mountain","description":"\u003cp\u003eImogen Cassels\u003c\/p\u003e\n\u003cp\u003eImogen Cassels\u003c\/p\u003e\n\u003cp\u003e'Reading \u003ci\u003eHares on the mountain\u003c\/i\u003e sent me to Simone de Beauvoir, who writes that ‘\u003ci\u003eThe girl watches herself suffer\u003c\/i\u003e: \u003ci\u003eshe is savouring in her heart the taste of violence and revolt rather than feeling any interest in their results\u003c\/i\u003e’—there is something deeply feminine about Cassels’ poetry—the clichés de Beauvoir identified ‘\u003ci\u003emoonlight\u003c\/i\u003e, \u003ci\u003epink clouds and velvet nights\u003c\/i\u003e … \u003ci\u003emarble\u003c\/i\u003e, \u003ci\u003ejasper and mother of pearl\u003c\/i\u003e,’ but there is also the decision to make an art of \u003ci\u003ewatching\u003c\/i\u003e and of \u003ci\u003esavouring\u003c\/i\u003e the world when it does not adhere to these alluring projections. de Beauvoir puts imagining on the side of inertia, ‘\u003ci\u003eshe tells herself silly fairy stories\u003c\/i\u003e. \u003ci\u003eShe sinks so often into such foolishness because she has no hold upon the world\u003c\/i\u003e; \u003ci\u003eif she were supposed to act\u003c\/i\u003e, \u003ci\u003eshe would have to see clearly\u003c\/i\u003e, \u003ci\u003ebut she can wait in a fog\u003c\/i\u003e.’ Cassels’ poems are precise, littered with birds and other creatures, as well as barrettes and briolettes, and while they describe waiting and absence, they are demonstrations of presence and attention. She charts being in a fog—and moving through it. As lyric, they slip and slide with astonishing clarity—they make slight and beautiful renderings of the world. I want to read and read again.'—Edwina Attlee\u003ci\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/i\u003e'Cassels is a fencer of a poet, nicking the throat of language while pivoting with adroit feet. Surely, I think, the poems in \u003ci\u003eHares on the mountain\u003c\/i\u003e are the lost songs of Wyatt’s diamond-studded hind, or the dreams of cursive font. I gasp when I read them, knowing Cassels has once again shredded breath into meticulous and exquisite evasion.'—Jennifer Soong\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":61329439523146,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/Haresonthemountain_Cover_wSticker_0e5e3a27-b91e-45fc-b109-ddd1d943bd04.webp?v=1783864692"},{"product_id":"آفتاب-لمانی-lemon-sun","title":"آفتاب لمانی \/ Lemon Sun","description":"\u003cp\u003eZiba Karbassi (trans. Stephen Watts \u0026amp; Ziba Karbassi)\u003c\/p\u003e\n\u003cp\u003eA book of breath \/ a breathing book \/ a first English language edition of Karbassi’s poetry \/ a collaborative inhale and exhale.\u003c\/p\u003e\n\u003cp\u003eZiba Karbassi—born in Tabriz, northwestern Iran, 1974—began writing poems from an early age. Her first book in Persian was published in her early twenties and, since then she has published regularly, with more than twelve titles now available not only in her mother tongue but internationally. Having left Iran in 1989, Karbassi has been widely translated (to date, her work has appeared in over fifteen languages) and she is widely regarded as an acclaimed poet living in exile. Karbassi’s dense, revolutionary and lyrical work achieves an intensity of space rare in contemporary poetry, and she has performed her work widely across Europe and America.\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":61864496431434,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/LemonSun_Cover_wSticker_v2.webp?v=1790782927"},{"product_id":"old-poems","title":"Old Poems","description":"\u003cp\u003etrans. Robin Moger\u003c\/p\u003e\n\u003cp\u003eA book in five chapters, the first four of which contain the poems of two early Arabic language poets, al-Nabigha al-Dhubyani (‘The Prodigy of the Banu Dhubyan,’ a tribal group), said to have died in \u003cspan class=\"small-caps\"\u003e18BH\u003c\/span\u003e (\u003cspan class=\"small-caps\"\u003e604CE\u003c\/span\u003e) and Dhul Rumma (’He of the Frayed Cord’) who died in \u003cspan class=\"small-caps\"\u003e114AH\u003c\/span\u003e (\u003cspan class=\"small-caps\"\u003e732CE\u003c\/span\u003e). The poems are accompanied by texts taken from books of all periods, the majority of them ‘reports,’ which is to say accounts of events from the poets’ lives passed down in the same way as their poems (from contemporary witnesses through a chain of transmitters to a page): they are supposedly the roots bedded in history that gave rise to a poem’s growth, though they might also be thought of as the boughs sustained by and screening its trunk.\u003c\/p\u003e\n\u003cp\u003eAlmost all the material in the book is translated, with the exception of the odd line here or there. The third chapter contains two poems by Dhul Rumma and one by Golan Haji (dedicated to this translator). Golan Haji (b.1977) is a Kurdish writer from the northern Syrian town of Amouda living in Paris.  The poems by al-Nabighah al-Dhubyani revolve around the story of al-Nabighah’s exile from the Lakhmid kingdom—then ruled by al-Nu‘man Ibn al-Mundhir—to the court of the Ghassanid kings, and his eventual return to al-Nu‘man. The fifth chapter contains texts taken from \u003ci\u003eThe Marvellous in the Description of Spring\u003c\/i\u003e, an anthology of Andalusian prose and poetry on the season of spring and flowers by the Sevillian poet and courtier Abu al-Walid al-Himyari, said to have died in about \u003cspan class=\"small-caps\"\u003e440AH\u003c\/span\u003e (\u003cspan class=\"small-caps\"\u003e1048CE\u003c\/span\u003e).\u003cbr\u003e\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":61864497185098,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/OldPoems_Cover_wSticker.webp?v=1785950502"},{"product_id":"valley-wives-blues","title":"Valley Wives’ Blues","description":"\u003cp\u003eCristina Viti\u003c\/p\u003e\n\u003cp\u003eAround the embers of dying languages, bands of desos, witchdoctors and boy-girls who just wanna have fun sing an anti-elegy for the wrecked ecologies of survival tuned to the drone reed of care work.\u003c\/p\u003e\n\u003cp\u003e'‘\u003ci\u003eBlues\u003c\/i\u003e’ because, like the best blues music, Viti’s line moves across elegy and ecstasy, admirably sustaining that wire-fine dialectical tension between grief and joy without ever feeling the need to choose either one. No empty closure here. No consoling sop. What there is, is tremendous nerve; a kind of fierce authority. Viti’s valley wives are evoked—and invoked—through passages of richly realised lyric, seeming to live as surely in the flesh as they do on the page. This poem strikes me, above all else, as an urgent summons towards compassion, for each other—the o\/other—and for life itself.'—Fran Lock\u003c\/p\u003e","brand":"Boekhandel Perdu","offers":[{"title":"Default Title","offer_id":63754012131658,"sku":null,"price":17.5,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/2782\/9974\/files\/ValleyWivesBlues_CoverwSticker.webp?v=1790783175"}],"url":"https:\/\/boekhandelperdu.nl\/collections\/tenement-press.oembed","provider":"Boekhandel Perdu","version":"1.0","type":"link"}