performance

WOVEN is an Entropy series and dedicated safe space for essays by persons who engage with #MeToo, sexual assault and harassment, and #DomesticViolence, as well as their intersections with mental…

Do you have a fence around your house A wall marking the borders of your yard A gate to enter the premises How many doors locks alarms Is it your…

I disagree with the concept of profit over creation all the time. I would like to see more small presses create an occasional space for writers whose work they think is good, but not necessarily marketable, to have the support of their staff and artists to create the equivalent of locally produced zines that just happen to look like modern poetry books. The collections that could come out of that “unpopular” literature movement would likely create the conversations we’ll be having ten or twenty years from now.

* * * Ciriza is a multi disciplinary artist who cares a great deal about unearthing dark matter for transformation. She works in a variety of mediums- music, performance, drawing,…

We decided to purposefully “blur lines” because that is what we were doing naturally. We are influenced most by the people and materials we work with. Materials come in many different forms—writing, color, personality, paper. Materials come in ink and we are inspired by the tracks. Right now, we enjoy our openness—not knowing what next five years will bring. We love the fact that our aesthetic and mission will evolve over time—as we grow and invite more people into the collaborative process.

I sit down to write an essay about contemporary poetic performance and I am in the kitchen with my roommate Brendan. He is a white cis hetero Canadian male. Yesterday…

I will say that the beauty of a small press is that you can take small risks, and ideally use any limitations as assets. One of the things that I love about the stories of Black Mountain College is that they had little in terms of resources but nevertheless had a tremendous cultural impact. Of course it’s easier to think like that now that we have a degree of stability, but especially in the beginning we had little to no overhead. Which is a good thing, because it took about four years before the first two books we’d published paid for themselves. Since then the press mostly maintains itself, but definitely I would say it’s a lucky thing to break even on a project and any earned income goes into future publishing projects.

The Jitters by Anne Cecelia Holmes 2015, Horseless Press 85 pages – Horseless / Amazon   I love playing tough, but I also feel like a child doing it. I’ve never…

Performative writing, critical writing relying on descriptive utterance to challenge an assumed social reality, is the native language of writing on disability because it is inherently the language of reframing…

Write Bloody authors are diverse and out there—in small record shops and large colleges, in strange theaters and swampy bars—doing readings all across Europe, Australia and the United States. Going to a reading will one day be as common as going to the movies or to see a band and Write Bloody is currently paving the way. Our books are found in bookstores around the world from Guam to Berlin.

Image: Ronaldo Wilson in Radical Improvisation II: Detritus, an Opera in Three Acts (photo by Samuel Ace) As presented at #AndNow2015 as part of the Radical Improvisation II: Detritus, an Opera…

The Correspondence Artist by Barbara Browning Two Dollar Radio, 2011 192 pages – TDR / Amazon I’m Trying to Reach You by Barbara Browning Two Dollar Radio, 2012 224 pages – TDR…

Somehow we manage to balance the productive tension of being a volunteer-run collective with the demands of producing an output (24+ books a year) comparable to that of a much larger publishing house. A huge part of it is the fact that we are nonprofit, and therefore don’t define success according to profit margins. Because we have a tiny paid staff and limited financial resources, we are always trying to be more efficient with how we spend money. It’s a question of proper management of our resources, the most valuable of which is the energy of our interns, apprentices, volunteers, and editors.

  In his 1939 adaptation of The Wizard of Oz, Victor Flemming portrays “The Great and Powerful Wizard” as a mystical and towering nonhuman life form, a giant green head…