About Gnome Books

gnOme is a secret press specializing in the publication of anonymous, pseudepigraphical, and apocryphal works from the past, present, and future.

Amuletic Oubliettes

oudeís. Amuletic Oubliettes. ISBN-13: 9798471285095. 144pp. gnOme. 2021.

Amuletic Oubliettes is the third poetry collection by oudeís. It assays the subject of lucid dreaming through a geochronology, an horology, a thanatology, a taxonomy, and a teleonomy, and ends with a brief note on dreams.

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The Museum of Apparitions

The Museum of Apparitions. ISBN: 9798553808747. gnOme. 2020.

Throughout recorded history, various parts of the world have generated reports of crimes and assaults that are, to use the language of the police, without definable perpetrators. One such instance involves the anonymous victim and even more elusive culprits of the 2020 case related herein, whose ill-fated outcome may have been influenced in part by the abstruse subject matter and unidentifiable author of a document called The Museum of Apparitions.

“Although the examination of apparitions often tends to resist dialectical resolution, Peter J. Shelton’s discovery of Dr. John Doe’s texts points to a truly weird interplay of events that derives its power from an oxymoronic act in which the ineffable becomes the very site of post-apparitional intelligibility. Readers granted entrance to this eerie Wunderkammer will find themselves concomitantly entranced: the book curates a kind of readerly auto-possession, one which artfully signals the enactment of the unsayable, wherein the threshold between being and non-being, time and space, John Doe and John Dee, collapses, revealing the grotesque veracity of its own spectral nature, over and over, ad infinitum. Well worth the price of admission. But enter at your own risk.” – Liesl Ketum, Humbert Divinity School

“Beneath the vaulted suspicions of all that is communicable lies this black dossier, a wraith-like codex of microbial psychiatry that dares to utter the final confession: that the greatest crime is that which appears.” – Anonymous Representative, Too Tired for Suicide

MoA @ goodreads

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The Anti-M3ssiah

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Paynim. The Anti-M3ssiah. ISBN: 9798662985919. 114pp. gnOme. 2020.

There can be no preamble to what follows. In many ways the words contained herein form the outline of a catastrophe in thought: an aberrant epistemology stolen from the future; an egg poached from the claws of demonic time.

“For centuries, scholars cloistered in the shadowy halls of archaic historiography have suspected that the mystery cults are in fact alive and well in the modern world — and that the sacred gases of geologic chasms at Delphi are in fact part of the atmosphere itself, beamed through each of us in the form of aphasic code. The strange cryptograms of Paynim provide us with further evidence of this. They are axiomatic and kataphatic, they are executable and self-annihilating.” – dòmisòsyè, author of The Book of Hallowed Annulments

“2020, and on my way home I pass an ad for Guy Ritchie’s 2005 film Revolver. By nominal/nominative association, Dennis Ritchie and his 1970s programming-language (C) spring-to-mind, along with their C++ OneUpmanship/StroustrUpmanship (another 1970s creation; my mental associations run back fifty years, it would seem). Back at the casa, I log into the old laptop only to find a little Gift—Capital-G as in German—from Gnome Books: a gnomic text with a Roman C page-count plus a bonus page, following that, upon which appears the statement that “books are never closed” (Merci Monsieur Möbius). Prior to the endlessness described on the end-page—page C+I—is an admission by the author of the text that the text itself was an οδός (or an ωδή to the οδός) and that the road taken (the οδός) has already been paved. What we have here, in book form, is a work of roads-scholarship, and just as was the case in a film released eight years prior to Ritchie’s Revolver—Lynch’s Lost Highway—the road wraps round itself, revolving in a monstrous Möbius-Loop qua collapsed Figure-Eight (∞). It occurs to me that I received this text in a manner not entirely unlike that of F·M (Fred Madison) in the A·M—mid-morning—opening-sequence of Lynch’s Lost Highway; is this, then, some kind of demonic diary or diabolical dialogue that I have been given? What price must be paid for the perusal of such a publication? Paynim, its pseudonymous author, is, after all, no thielevchinosekian paypal: rather s/he is some sort of nietzscheo·nakamotonian paganpaynim being an Old (or rather, Middle) English translation of the Norman paienime, itself a translation of the Late-Latin/Lost-Highway paganismus (‘pagan’). The price of perusal might very well be a pseudonymous paganism or paynimity: a becoming-pagan the better to bear witness to the titular Anti-M3ssiah. With a nod to Nietzsche’s Antichrist and Prelude to a Philosophy of the Future (Beyond Good and Evil), The Anti-M3ssiah sets out in its set of six—6⁽⁶⁶⁾—poetic parts or song-sections to be a ballad of the blockchain, chanting/incanting ‘the inverted gospel’ (Paynim’s phrase) of the latter’s ‘robo-rebellion’ (Paynim’s phrase) and ‘ascetic re-definintions’ (ibidem).” – Dan Mellamphy (@youtopos)

“The Messiah comes and saves and completes, his antithesis arriving backwards to imperil and confuse and leave us unfinished. The Anti-Messiah will throw you to the wolves, to the lions, to the dogs, to the ideas of these creatures: all bite and no substance. And then you’re in bits and he’s the space between them, like nothing had a name. He is not he, is not she, is not anything, but a nothing professing to be everything, the last ghost light before the dark, in the heaven you deserve of endlessly becoming less. Open parenthesis, close parenthesis, and forget to pretend there was anything else.” – Gary J. Shipley

“All hail the Anti-M3ssiah, a cyberdecadent Maldoror coded among the ruins of a romantic hell, sampling aphoristic chants across the necropolitan blockchain! A mad collection of theory-poetry and parenthetic wisdom, this anti-evangelion of Zarathustrian superartificial malgorithms will haunt forever our lost necropolis of love.” – Germán Sierra

“A paean to this Age.” – E. Elias Merhige

A-M @ goodreads

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Aoibheann of Elphin

Aoibheann of Elphin: Poems I-LXXVII. Foreword by Liesl Ketum. ISBN: 9781691900961. 106pp. gnOme, 2019. $7.00.

Tapping on the window of the invisible median strip between her inner and outer worlds, Aoibheann Ó hAodha, the poet and mystic known among the Irish townspeople simply as Aoibheann of Elphin (1916-1982), exuberantly wrote about the trials and tribulations, as well as ecstasies and sublimations, of her stretched out consciousness via the ‘crucis’ of life itself.

 

 

AE @ goodreads

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Under Forests of Futility

forests of futilityRasu-Yong Tugen, Baroness de Tristeombre. Under Forests of Futility. ISBN-10: 0692174192. ISBN-13: 978-0692174197. gnOme, 2018. 116 pp. $9.99.

“Vast lattices of black shale engulf us while we sleep. Primordial roots hunch over, as if in prayer. Arching acacia and star pine whisper spectral apprehensions. Black opal rains submerge everything permanent.”

A collection of poems by the author of A Natural History of Seaweed Dreams and Songs from the Black Moon.

“In this book is poetry that evokes the impersonal all around us, and deep within us. It is poetry carefully chiselled from the hues of night.”
— Joao da Cruz e Sousa, author of Notebooks of a Black Swan

“This is not a book for human beings. For every reader will, upon reading it, become lost — blissfully, bewilderingly lost — like a sleep-walker in the black forests of lyric.”
— Comtesse Anna de Noailles, author of A Shadow of Days

“A harrowing testament to the luminous uselessness of poetic language. I wish all language was this haunted.”
— Sadegh Hedayat, author of The Blind Owl

UFoF @ goodreads

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Liber Exuvia

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Elytron Frass. Liber Exuvia. ISBN-10: 0692053417. ISBN-13: 978-0692053416. 148pp. $13.00.

An interactive grimoire devoted to the sundry incarnations of a self-beheading mantis, Liber Exuvia provides a shadow of insight into its author by way of past-life regressions and encrypted charms. What was once crudely printed and mass-mailed to random households all across the globe—Elytron Frass’s confrontational novella is now bound, barcoded, and available to any daring reader.

Liber Exuvia presents a hypnotic flow of morbid visions of violence and sexuality that sometimes read like Comte De Lautreamont, sometimes like 80s horror cult classics, and, most curiously, often like beautiful lyrical poems, in which the poet is not ‘man speaking to men’ but a conjurer of ghosts.” — Johannes Göransson

“Reading Frass’s work is the taking-in of a great breath and holding it, stretching it to every seam, hallucinating as you beg for air, and falling into a gentle death-lull of captivation. You will travel to another world, many of them. You will leave your body with this book in your hands. You will weep for history, weep for bodies, weep for your planet in the grand scheme of existence. What beauty and terror is conjured here with such absolute innovation of language and form! Frass tells stories, but does so from the inside out, from a dream within a dream, planting you right in the center so you can walk your way out. It is what writing should do.” — Lisa Marie Basile

“Erotic in the most organic and tangible ways, Frass manages to elicit such vicious imagery in so few words.” — Tina Lugo

LE @ goodreads

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Ambroise Lefurgey: Selected Poems

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Ambroise Lefurgey: Selected Poems. Translation and Foreword by Liesl Ketum. ISBN-13: 978-1544920962. ISBN-10: 1544920962. gnOme, 2017. 80pp. $7.00

Lefurgey was a metaphysical wayfarer, a poet-sage who lived his life on the razor’s edge. A walking coincidentia oppositorum, he threw himself full tilt into the Moebius simultaneity of worlds both sacred and profane. Enigmatic and dreamlike, yet not without a recurrent insistence on embodiment, his surreal poems flicker as hot coals do, often flaring between themes of eternity and facticity, body and spirit, love and lovelessness.

“Lefurgey’s poetry—a light / so bright it blinds my eyes / Alive! / Alive! / Alive! / (I’ve died!)” — Daniah Chilcott, director of Le Trident Barattage (from a 1938 critical-creative review first published in VERBANA, the famed Surrealist art journal)

The translation of a poem by February Eglomise had been floating around the island of Montréal during my undergraduate years in that city; it was entitled ‘A Lifebuoys Merger’ and had to do with the alchemical process—indeed, it was said to have divulged the great secret of tinctures, and by dint of this many believed the poet to have been a student of Jean-Julien Champagne, a.k.a. Fulcanelli. The original from which ‘A Lifebuoys Merger’ had been translated was a document no one could find. It is fitting, then, that a student in anglophone Toronto—at the so-called ‘Divinity School’ (a.k.a.School of ‘Divining-Rods’ qua ‘Plumbing-Techniques’) of Torontos Humber College—plumbed the depths of this mystery and discovered that both the name of the poet (February Eglomise) and the name of the poem (‘A Lifebuoys Merger’) were anagrams of Ambroise LeFurgey (and of course, vice versa). Mike Tulles, Humber Colleges top-notch student of plumbing-techniques, anagrammatized his name and then published his findings under this «nom-de-plumb»—a publication that took the form of the present pseudonymous translation (plus prefatory introduction) of an unanagramatized French poet. In order to disguise his institutional affiliation, he simply added an asterisk-dagger to Humber, creating in so doing Humber† College and its ‘Divinity School’ student Liesl Ketum. Lest it be said that I here break pseudonymies, it should be added that Mike Tulles a.k.a. Liesl Ketum might in fact—in reality—be Ellie Muskt (yet another anagram), and that the latter and all of the former might be the daughter (and/or son) of a certain Maye and Errol, to whose surname another asterisk-dagger was added. The mysteries and mysterious/pseudonymous interconnections go on and on and on. In this space—in the space of these plural/plurifold pseudonymies—let me simply suggest, in fine gnOme_Books fashion, that the translator and translated can be signed (either one) as Space-X.” Dan Mellamphy

AL @ goodreads

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