Poetry. Literary Nonfiction. "My desire is to erase boundaries,' says Wellman, and in many ways, this book is an exploration of how language can aid that project. Based in consideration of translation, Wellman's musings pass through the lens of critical theory and continental philosophy, a lens that gathers diverse approaches and focuses them into a single, illuminating beam. At once erudite and intimate, autobiographical and analytical, Wellman effectively erases the distinction between text and translation, between writer and translator-and with a particularly graceful momentum that comes through in both his prose and his poetry." —Cole Swensen Donald Wellman's new book of prose travels far : Antonio Gamoneda's poetry, "Earth Ergon" on the work of Derrida, his thoughts on translating Paul Celan, his musings on the art of translation, the work of French Poet Anne-Marie Albiach. This volume includes a new version of her poem : "après cela, moi j'ai regardé" translated by Wellman and Julian Kabza. Also included, a new work by Jean Daive, the author of Under the Dome (Burning Deck Press). Daive's reminiscence titled - "Urgence et négation en réponse Anne-Marie Albiach et Paul Celan" is, in part, an extension of his earlier work on Celan.

Albiach / Celan : Reading Across Languages

Literature & Fiction

Daive, Jean

Albiach, Anne-Marie

Wellman, Donald

History & Criticism

Annex Press

Literary Nonfiction. Poetry. Film. Jewish Studies. Edited by Julian Kabza. Translated by Ian Thompson, Anna O'Meara, Julian Kabza, Nadege LeJeune, and Charles Penwarden. Introduction by Adrian Martin. Forward by Frédérique Devaux. Interview with Isou by Roland Sabatier. Afterword by Erik Bullot. "Who is Isou? Some may know that he was the founder and leader of a movement in art and thought named Lettrism. Some may know the remarkable film he made a year before he wrote his manifesto, the Treatise on Slime and Eternity, a breakthrough work of feature-length experimentation that was to win fans including Stan Brakhage--Isou himself would coldly remark, many years later, that Jean-Luc Godard and Guy Debord (to name only two luminaries whom he considered his mortal enemies) stole everything from it. Some might have come to the legend of Isou through the fond passage devoted to him in Greil Marcus' book on the distant origins of punk, Lipstick Traces--a book whose subtitle evokes 'a secret history of the 20th century.' In that book, Marcus tells the fine story of his teenage niece stumbling upon the photos on his desk of a young Isou in the late 1940s, and mistaking the artist for a contemporary pop star. And Isou did indeed look the part--especially in a self-portrait which was an example of what the Lettrists called hypergraphics, a work mixing the media of photography, painting, drawing, and Lettrist poetry."--Adrian Martin, from the introduction "Isou chipped language down to the bone that it might build its flesh up again, fresh and new. It is one of the grand aesthetic visions of the late twentieth century. His cinema, in particular, is a marvelous document of the secret history of our times. Here at last is the book that, for Anglophone readers and beyond, cements his fleeting presence for all time."--McKenzie Wark "Long-overdue, this translation of Isou's masterpiece--together with its contextual essays and interviews by Martin, Devaux, Sabatier, and Bullot--will be a monumental resource for international research into the origins of the Lettrist movement along with postwar Experimental Film and Media Art."--Andrew V. Uroskie

Treatise on Venom & Eternity

Arts & Photography

Isou, Isidore

Photography & Video

Asa the Squirrel: A True Story in Vermont

Doug Hall

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