Un-Sight/ Un-Sound (delirium X.)

front coverM. Un-Sight/ Un-Sound (delirium X.). ISBN-13: 978-0692334799. ISBN-10: 0692334793. gnOme. 2014. 130 pp.

un-sight un-sound/ yet/ in vacuum of doubt’s expel/ clamouring for beyond flesh what meat as if/ yet forage no/ not a/ eye crushed within fist of none/ echoing chamber of nothing/ never dispelled

Un-Sight/ Un-Sound (delirium X.) is a prose-poetic work in three sequences: “delirium X,” “Meat Sequence (after Francis Bacon),” and “Ghost-Limb Tongue.” In the first, quotations from various authors (Bataille, Beckett, Luca, Popa et al.) are used as springboards for surreal imagistic fragmentation. The second section, inspired by Deleuze’s Francis Bacon, deals with the subject of flesh/ meat and explores the concept of the human object divulged of identity/ place, stripped of ego, and viewed from an externus. The third section addresses the conflict between sense and the real and concludes with a collection of aphorisms written with regard to words becoming a bankrupt form of expression in the conflict between language and the Post-Human world . . .

“It is nice to see that language too can be broken and made to rot like everything else.” – E. Elias Merhige

forthcoming

Autophagiography

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A & N. Autophagiography. ISBN-13: 978-0692234204. ISBN-10: 0692234209. gnOme, 2014. 192 pp. $12.00.

A true story, hot off the wine presses of the heart. Something indescribable occurred. Communications ensued, becoming a saintly self-eating process whose vermicular trail is this book. Part romance, part mystical dialogue, part melodrama, Autophagiography is a ( )hole document of impossible love and friendship between two real inexistent persons. The results may astonish you.

Contents: I. ALP, a.k.a. Resent Morning Prayer. II. Scars of the Horizon. III. New Life. IV. Saintly Communication: A Rule. V. Postscripts

“Bitten hard by the Autophagiography‘s ‘spiral ouroboros’ even as concentration is dissipated among its narrative peculiarities, cultural allusions, codes, and ceaseless diversions, I will try to find a way to talk about it . . . ” – Nick Land

” . . . a significant accidental experiment in documentary authorship, an ‘as-is’ book with several delightful surprises and contradictions . . . the conception and editing of Autophagiography becomes an important part of the narrative itself, so that the text literally and narratively eats itself into its own real present, like some kind of monstrous love-child proverbially devouring the authors out of their inexistent sub-oceanic house and home: ‘The monster is here and I cannot stop it, I don’t want it ever to shut up. Whatever happens in this life there will be the fault of this cataclysmic now screaming to me, deafening me with the echo of a deformity that I always was’ (73) . . . One can only hope without hope that its authors somehow find happiness in this sphere or the next, or at least in a weird new somewhere that is neither.” — Anonymous, “Eating Yourself to L( )ve,” HTMLGIANT

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Cantos for the Crestfallen

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Pseudo-Leopardi. Cantos for the Crestfallen. Translated by A. Necrezută, F. Pilastru & I. Imaculată. ISBN-13: 978-0692218853. ISBN-10: 0692218858. gnOme, 2014. 44 pp. $10.00.

Pseudo-Leopardi’s Cantos for the Crestfallen, here translated for the first time from the Romanian original, is a breathless expiration of impossible pessimo-mystical desires for the immanent beyond. In a sequence of thirty one verses channeling the spirits of Cioran, Dante, and the poet’s eponym, the Cantos testify to life’s senselessness, the necessity of being beheaded, and the love of saints. It is an intoxicated and uncompromising vision: The name of you / Who alter one atom of my sigh is now stricken from life.

“Not since Die Nachtwachen (The Nightwatches), published in 1804 under the pseudonym of Bonaventura, a German Romantic of often-attributed yet arguably still uncertain identity, has there appeared such a book as Cantos for the Crestfallen. Also written by an unknown hand, one drenched in a philosophy and poetics of an apocalyptic tone, the latter title rivals its predecessor in both mystery and melancholy. At the same time that the authors of these works tear the mask from the dark face of the inhuman comedy, they practice a reckless wit that makes the blackness of our lives blacker still. Cantos for the Crestfallen in particular flows with gruesome conceits that empty into an ocean of tears, ultimately drowning its reader far from the sight of land, of home, and of hope.” – Thomas Ligotti

“Like his namesake-by-declamatio, the author of Cantos for the Crestfallen has managed to condense all human afflictions into one solitary fusion of despair, a misery with teeth enough to bite the hand off every nescient and conciliatory illusion. And yet to underpin this breathless, almost throttled, ennui (his own sigh even “drowning in air”) there is the resolve and the bitterness of a love affair gone wrong, the unrequited affections, the raw feels of the world’s interminable spurning; and all of it a lie, a necrophile’s symphony tapped out by a heart made ash of, a heart crawling up a corkscrewed spine to die inside a brain.” – Gary J. Shipley

“Pseudo-Leopardi’s Cantos exhale a spirit of blackened occidental sufism that will make your head spiral.” – Pir Iqbal the Impaled

“From the enhaloed entrails of a forgotten notebook comes these Cantos for the Crestfallen. These poems describe nothing and enact everything—litanies of a moldering solar refusal.” – Rasu-Yong Tugen, Baroness de Tristeombre

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CC @ goodreads

Songs from the Black Moon

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Rasu-Yong Tugen, Baroness de TristeombreSongs from the Black Moon. ISBN-13: 978-0615969008. ISBN-10: 0615969003. gnOme, 2014. 80 pp. Text and images. $9.99.

All the trees whose names we have forgotten have long since embraced our entwined limbs.

In the tradition of the 19th century, fin-de-siècle prose poem, Songs from the Black Moon is a dark elegy for an already-forgotten planet and its wandering, somnambulistic inhabitants.

“A book of beautiful and strangely tranquil outbursts of disaffection and dissolution. I wish everyone on earth lived by the sentiments expressed within it.” — Thomas Ligotti

“In search of an atrabilious poetics that might render breathable the ‘black abyss’ within, the Baronesse de Tristeombre has written an apocryphal rejoinder to the Book of Lamentations, filled with salt, sand, crystal and leprous flesh. Read this grimoire of ‘tectonic sorrow’ and despair anew.” — Drew Daniel, author of The Melancholy Assemblage

“In the black light of these lunar songs, you and I despair for the last time, again.”
Pseudo-Leopardi, author of Cantos for the Crestfallen

“Songs from the Black Moon resurrects the literary tradition of Dark Romanticism – poetry that is stark, sparse, and drenched in a blackened lyricism . . . These poems are ecstatic lamentations for the world-without-us . . . ” – Eugene Thacker, author of In The Dust of This Planet

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Serial Kitsch

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Yuu Seki. Serial Kitsch. ISBN-10: 1497562457
ISBN-13: 978-1497562455. HWORDE, 2014. 106 pp.$9.49

Serial Kitsch is an epic poem assembled from the testimony of a slew of serial killers, of so many translucent interiors taking on the colours and dimensions of many and of none. Though edits have been made, the words are all theirs. Though personal boundaries were frequently disregarded in the making of this work – presuming any were present at the start – the person-type remains intact. Type and the anonymity it affords is what remains. The acts and the products are “always the same” and “always different”: zeroed factory-people amassing other zeros like kitsch banknotes, each legitimate tender only for buying more of themselves.

“Like the best conceptual work, Serial Kitsch shows its innards, the way the work works. Like the best poetry, it guts itself for our aesthetic pleasure and contemplation. Like the best killers, it does all this using its words.”  – Vanessa Place

“It is strangely and disconcertingly fitting that Serial Kitsch starts out with a quote from Andy Warhol because this is really a book about art. It is a disturbing book that enters into the tricky and troubling relationship between art and violence by taking on (and taking in) one of the most frightening, influential and ridiculous figures of the 20th century: the serial killer. The serial killer’s ‘kitsch’ – his letters, his corpses, his appearance (‘But he looked just like an average person!’) – does not so much ‘blur’ the line between fiction and reality, violence and art, as show an intimate bond between these, a bond we might call ‘media.’ Conceptual poetry has long bragged about ‘killing poetry’; here the actual poetry finally goes gothic. You may not want to read the results; it’s a disconcerting but lyrical book: ‘I spoke to him as if he were still alive / how beautiful he looked.’” – Johannes Göransson

“Yuu Seki’s brilliant and necessary poem Serial Kitsch follows in the grand tradition of Aron the Moor’s final words in — “I have done a thousand dreadful things / As willingly as one would kill a fly, / And nothing grieves me heartily indeed / But that I cannot do ten thousand more” — and plunges this sentiment into the era of YouTube, when the faces and words of Dahmer and Wuornos can be pulled up and organized like a playlist. Reading this book allows language to fulfill its ultimate purpose: to disperse the diseased miasma of the human soul, or what’s left of it, to the ends of the earth.” — David Peak

“The figure of the serial killer has always captured the attention of the public and in recent television and film the figure has been domesticated (Dexter) and celebrated (Hannibal) in equally disturbing ways. Yuu Seki allows the words of serial killers to speak here in this epic poem. What we see is not easily put into a comforting or entertaining narrative, but is unflinching in forcing us to confront human evil that goes far beyond individual crimes.” — Anthony Paul Smith

“I…am left suspended, silent, before…the flowers that Yuu Seki has plucked. In a field stripped of all reverential and religious potential the poet has somehow managed to harvest a sacred surplus (‘this almost holy feeling’), that would have so fascinated Bataille….Yuu Seki’s flowers tell of a ‘founding violence’ that is ‘this unsteady mix of an art in nature with an art of nature wherein violence becomes authority’ [Taussig].” — Edia Connole, “The Language of Flowers: Serial Kitsch”

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How to Stay in Hell

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Y. O. U.. How to Stay in Hell: Inspiring Instructions for Daily Living. ISBN-13: 978-0615953236 ISBN-10: 0615953239. gnOme, 2014. 36 pages. $6.66.

Hell is a special place. Some people say that God created Hell, but Hell is more special than that.

“An exceptional step by step guide for living a life of true and open awareness within the confines of this earthly world, How to Stay in Hell cuts deep to the heart of existence and eschews the binary simplicity of classic fire and brimstone hellscapes for the more tangible reality of Hell; the Hell of this very Being. Following the traditions of self-realization and self-actualization, How to Stay in Hell is sure to become an indispensable blueprint for personal achievement alongside Musashi’s The Book of Five Rings, or Aristotle’s Nicomachean Ethics. Don’t just stay in Hell, Master staying in Hell.” -V.C. Dark Magus Emeritus of the Order of the Black Mark

“…all the terrible and beneficent forces of mysterious Nature whose dark secret powers keep your life dynamically in place each moment of your life, waking you up in the morning and putting you to sleep at night, filling our bodies with pleasure and pain, our imaginations with fantasy and nightmare, our minds with ideas and anxieties. We are talking about the impossible everything that holds the whole universe in place around the single finite pole of you.” Kant by way of Vernon Howard, How to Stay in Hell should be required reading for anyone who refuses to let go of the idea that art’s greatest responsibility is to affirm life or that living life in itself is an art. Of course, thankfully, neither of those statements are true. — David Peak, author of The River Through the Trees

“A short tract of pessimist self-help which cuts to the heart of the mundane of horror of being you. Through a series of twenty affirmations of some of humanity’s most essential sick habits — e.g. ‘believing in yourself’, ‘making plans’, ‘practicing the personal touch’, ‘cherishing one’s opinion’ — the text provides a clear and effective guide for STAYING IN HELL. The book will make you laugh, because it is true. But it is not funny, the joke is on you.” - Törpe Könyvek

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Bergmetal: Oro-Emblems of the Musical Beyond

bergmetal front cover copy - CopyNab Saheb & Denys X. Arbaris. Bergmetal: Oro-Emblems of the Musical Beyond. ISBN-13: 978-1494907204 ISBN-10: 1494907208. HWORDE, 2014. 116 pages.

Bergmetal is a collaborative exploratory tract on the trisonic intersections of MOUNTAINS, MYSTICISM, and HEAVY METAL. Mixing theoretical reflection and studious redaction into ascending gestures of alpine musical thought, the book proceeds via seven poetic emblems plus commentary addressing works by Bathory, Darkthrone, Sleep, Aluk Todolo, Omega Massif, Schrei aus Stein, and Sapthuran. Opening essays by the authors on the ideals and history of the bergmetal genre provide a logistical starting point and contextual basecamp.

“A casual email…a voidal exposure…! In this slim volume, metal, lyrics, and philosophy combine - “with spirit deathless, endless, infinite” – to launch a ferocious assault on the imagination!” – Manabrata Guha, Prize Fellow, Univ. of Bath

“A strange creature I am now, burnt by the sun and yet frozen, clung onto my will to take just another step” — Stormcrow

“Metal! Mysticism! Mountains! Whoever loves one will be interested in this book. Whoever loves two will like it. Whoever loves all three might be in paradise.” – Nicola Masciandaro

“An ascent into the wilderness of alpine aesthetics and heavy metallurgies, with poetry, mysticism, and esoteric philosophy illuminating the peaks and abysses of sublime human experience alongside the indifferent expanse of geological time.” — RH, Schrei aus Stein

“It’s about time somebody published a serious piece of heavy metal commentary, and Bergmetal is it.” — Alex Sutcliffe, Lurkerspath

“Ihre Musik, die Texte, das Artwork, das Konzept, führen den Kommentator auf eine sowohl kulturelle wie auch geologische interpretation der Bergwelt. Harter Stoff, aber dafür umso faszinierender!” — Dominik Irtenkauf, Legacy Magazine

PRINT: Amazon.

BOMB @ goodreads