Review\nTh[is] poetry collection exemplif[ies] the literary innovation of this era―a commitment to the pursuit and study of sound and a symbolic resistance to legibility. -- Erica N. Cardwell ― Brooklyn Rail\nThis recognition via fresh publication restores the author to his proper place in the avant-garde lineage that includes Concrete poetry, typewriting, and Visual Poetry. In addition to that important fact, having these books is an opportunity to experience the sheer pleasure of an elegantly venturesome mind at serious play. -- Albert Mobilio ― Hyperallergic\nAn exacting facsimile of Umbra protagonist Norman H. Pritchard’s long-rare 1971 collection of visually kinetic poetry 
American poet Norman H. Pritchard’s second and final book, EECCHHOOEESS was originally published in 1971 by New York University Press. Pritchard’s writing is visually and typographically unconventional. His methodical arrangements of letters and words disrupt optical flows and lexical cohesion, modulating the speeds of reading and looking by splitting, spacing and splicing linguistic objects. His manipulation of text and codex resembles that of concrete poetry and conceptual writing, traditions from which literary history has mostly excluded him. Pritchard also worked with sound, and his dynamic readings―documented, among few other places, on the album New Jazz Poets (Folkways Records, 1967)―make themselves heard on the page.\nEECCHHOOEESS exemplifies Pritchard’s formal and conceptual sensibilities, and provides an entryway into the work of a poet whose scant writings have only recently achieved wider recognition. DABA’s publication of EECCHHOOEESS is unabridged and closely reproduces the design of the original 1971 volume.\nNorman H. Pritchard (1939–96) was affiliated with the Umbra group, a predecessor to the Black Arts Movement. He taught writing at the New School for Social Research and published two books: The Matrix: Poems 1960–1970 (Doubleday, 1970) and EECCHHOOEESS (New York University Press, 1971). His work was anthologized in publications including The New Black Poetry (1969), In a Time of Revolution: Poems from Our Third World (1969), Dices or Black Bones: Black Voices of the Seventies (1970), Ishmael Reed's 19 Necromancers from Now (1970), Text-Sound Texts (1980) and others.

Eecchhooeess

Literature & Fiction

Pritchard, N.H.

Poetry

DABA

Poet Simone White and theologian Ruby Sales discuss faith in institutions and faith as an institution 
Published on the occasion of Adam Pendleton: Who Is Queen? at the Museum of Modern Art, New York, the book series Who Is Queen? adapts conversations between pairs of notable writers, theorists, philosophers and musicians into contrapuntal texts intertwined with archival photographs and additional writings. 
Ruby Sales (born 1948) is a social critic, educator, public theologian and the founder and director of the SpiritHouse Project. Her work appears in journals and books and is cited in films and documentaries. 
Simone White (born 1972) is a poet and critic. Her most recent work is the book-length poem or, on being the other woman (2020). Also the author of Dear Angel of Death (2018), Of Being Dispersed (2016) and House Envy of All the World (2010), she is Stephen M. Gorn Family Assistant Professor of English at the University of Pennsylvania.

Who Is Queen? 3: Ruby Sales, Simone White

Arts & Photography

History & Criticism

Poets and writers Susan Howe and Alexis Pauline Gumbs read each other’s work and discuss reading and being read as an act of intimacy 
Published on the occasion of Adam Pendleton: Who Is Queen? at the Museum of Modern Art, New York, the book series Who Is Queen? adapts conversations between pairs of notable writers, theorists, philosophers and musicians into contrapuntal texts intertwined with archival photographs and additional writings. 
Alexis Pauline Gumbs (born 1982) is the author of several books, most recently Undrowned: Black Feminist Lessons from Marine Mammals (2020), and the cofounder of the Mobile Homecoming Trust, an "intergenerational experiential living library of Black LBGTQ brilliance." 
Susan Howe’s (born 1937) most recent poetry collection was Concordance, published in 2020 along with a reissue of Spontaneous Particulars (2014), a prose meditation on her research in rare book collections. Her selected essays, collected in The Quarry, were published in 2015, and a poetry collection, Debths (2017), won Canada’s Griffin Award for Poetry in 2018.

Who Is Queen? 4: Alexis Pauline Gumbs, Susan Howe

The first collection of the Beat mentor's long-influential permutation poems--one of the earliest examples of computer-generated literatureWritten between 1958 and 1982, Brion Gysin's permutation poems begin with short phrases or sentences whose constituent words are exhaustively rearranged over the course of the text. At first, Gysin wrote these poems manually, although later, in collaboration with programmer Ian Sommerville, he would write permutation poems with the assistance of a computer, making them a very early instance of computer-generated literature. Some of these works were published in books, while others exist only as audio recordings. Many derive from a 1960 BBC radio commission, "The Permutated Poems of Brion Gysin," in which readings of the texts were recorded, cut up, modulated and overlapped. For the first time, this collection brings together all published and--where transcribable--unpublished versions of each poem, as well as Cut-Ups Self-Explained, a short text by Gysin that contextualizes the work. The poems are organized in chronological order by first publication or first recording, with further versions of each poem grouped together in chronological order immediately after the initial version. This organization brings distinctions between versions into relief, allowing readers to explore the playful systematicity that undergirds this remarkable body of work. Brion Gysin (1916-86) was a multidisciplinary artist, author and poet. Born in Taplow, England, he studied painting at the Sorbonne in Paris and immigrated to New York in 1939. In the 1950s he lived in Tangier, where he first met William S. Burroughs. Gysin collaborated often; after returning to Paris, he developed the cut-up method with Burroughs, and with engineer Ian Sommerville he created the Dreamachine, a kinetic light sculpture. Gysin would become a mentor for generations of artists, musicians and writers, including David Bowie, John Giorno, Keith Haring, Brian Jones and Genesis Breyer P-Orridge, among others.

Permutations

A long-unavailable classic of 1960s visual poetry that atomizes and recombines the building blocks of languageA key figure--and one of the few women--in the Italian neo-avanguardia of the 1960s and 1970s, Giovanna Sandri (1923-2002) was renowned for the fearless experimentation of her visual poetry, which since 1965 has been featured in numerous Italian collections and journals. Originally published by Lerici Editore, Rome, in 1969, Sandri's first book-length work is an experiment in new reading operations. Composed with dry-transfer lettering instead of a typewriter, Capitolo Zero dissolves poetry into single letters and punctuation marks--the atomic particles of language--rearranging them in new combinations that preclude conventional meaning. Reading the book is a game for the eyes. Sandri's poetry, rooted in the fractured language of Dada, straddles the line between literature and visual art. Long out of print, this reissue of Capitolo Zero embodies DABA's commitment to art, experimental writing and visual poetry.

Capitolo Zero

Sandri, Giovanna

A Very Large Array: Selected Poems

Osman, Jena

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