OS Open Access Library

Welcome to our Open Access library!

All Operating System titles are printed using a Creative Commons CC BY-NC-ND License, in part a decision we made for times like these, so sharing and access would be fully legal and protect our authors, readers, and organization.

There’s a lot of work happening on the back end to make this possible, so please be patient! For now, we plan to roll out availability by catalog year, reverse chronologically beginning with 2020.

We will not be accepting payment for these titles, and we will not be printing or shipping physical books until we know we can do so safely without stressing laborers or a supply chain which needs to be focusing solely on essential and/or emergency support and function.

You are always welcome to make a one-time or recurring donation to the OS here, but as so many of our collaborating artists and authors have experienced a loss of income in this time, we encourage you to donate directly to them, via links under each title. We believe resources at this time must be focused on remaining liquid for aid.

Stay connected to the OS for updates by following us on social media and on Medium.

2020 Projects - Full Lengths

INTERGALACTIC TRAVELS

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Project Description: Intergalactic Travels: poems from a fugitive alien is an experimental poetry collection that renders an intimate portrait of growing up undocumented in the United States. Through the use of collages,  photographs, emails, and immigration forms, Alan Pelaez Lopez formulates theories of fugitivity that position the Trans*Atlantic slave trade and Indigenous dispossession as root causes of undocumented immigration. Although themes of isolation and unbelonging are at the forefront of the book, the poet doesn’t see belonging to U.S. society as a liberatory practice. Instead, Pelaez Lopez urges readers to question their inheritance and acceptance of “settler rage, settler fear, and settler citizenship,” so that they can actively address their participation in everyday violences that often go unnoticed. As the title invokes, Intergalactic Travels breaks open a new galaxy where artists of color are the warriors that manifest the change that is needed not only to survive, but thrive.

Fugitivity, Sequestration, and Escape: Tactics in the Realm of Language – an OS Interview with Alan Pelaez Lopez
when the doors open, I can’t see the path – an excerpt from Intergalactic Travels – poems from a fugitive alien on the OS’s [RE:CON]CRETIONS series

Alan Pelaez Lopez is an AfroIndigenous poet, installation, and adornment artist from Oaxaca, México. They are the author of the art and poetry collection, ‘Intergalactic Travels: poems from a fugitive alien’ (The Operating System, 2020), and the chapbook, ‘to love and mourn in the age of displacement’ (Nomadic Press, 2020). Their poetry has been nominated for the Pushcart Prize and “Best of the Net,” as well as published in Best New Poets, Best American Experimental Writing, POETRY, Puerto Del Sol, Everyday Feminism, & elsewhere. Pelaez Lopez has received fellowships and/or residencies from Submittable, the Museum of the African Diaspora, VONA/Voices, and UC Berkeley. They live in Oakland, CA & the internet (as @MigrantScribble).

GOODBYE WOLF

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Project Description:  GOODBYE WOLF is a collection of poems alternating between the author’s subversion of the horoscope and its tropes and his epistles to chronic illness, dear wolf or lupus. The poems explore the everydayness of disease and the absurdity of asking for answers from the stars — and of course waiting for their replies. Someone once said the longer you wait for the bus, the sooner it’ll arrive.

Essay / Assay: Acceptance, Perhaps: An OS Interview with Nik De Dominic 


check out these excerpts from GOODBYE WOLF:

Your Daily Horoscope for the OS’s [RE:CON]CRETIONS series

5 Wolves at Dream Pop Press
Your Daily Horoscope at Verse Daily
Your Daily Horoscope at Fanzine

Nik De Dominic is an essayist and poet. Work has appeared in Guernica, Los Angeles Review, DIAGRAM, Fairy Tale Review, Verse Daily and elsewhere. De Dominic teaches writing at the University of Southern California where he also co-directs the university’s Prison Education Program. He is the poetry editor of New Orleans Review and lives in Los Angeles.

SPITE

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Project Description: Danielle Pafunda’s SPITE reimagines André Breton’s ‘Nadja’ in conversation with his ‘Communicating Vessels’ and ‘My Heart Through Which Her Heart Has Passed.’ SPITE speaks through the melancholy bohemian dream girl. No longer gateway to the masculine artist’s destiny, Nadja becomes agent of her own evolution. The poems consider what happens when we no longer equate the hospital with the tomb, but understand it as generative site. Nadja rolls her ex-lover on a gurney through a city on fire. She trawls construction sites, nurses’ brows, and apple trees. We pick up the tin-can extension, wreck ourselves on the delirious island, consider the dishonest belief that every day must include / pain, and descend a massive swath of silk. SPITE has no fear of ugly feelings, nor of wonder.

Excerpts appear at:

Diode Poetry

Typo Magazine

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Danielle Pafunda is the author of eight other books of prose and poetry: ‘The Book of Scab’ (Ricochet Editions), ‘Beshrew’ (Dusie Press), ‘The Dead Girls Speak in Unison’ (Bloof Books), ‘Natural History Rape Museum’ (Bloof Books), ‘Manhater’ (Dusie Press), ‘Iatrogenic’ (Noemi Press), ‘My Zorba’ (Bloof Books), and ‘Pretty Young Thing’ (Soft Skull Press). She’s published two chapbooks: ‘Cram’ (Essay Press) and ‘When You Left Me in the Rutted Terrain of Our Love at the Border, Which I Could Not Cross, Remaining a Citizen of This Corrupt Land’ (Birds of Lace). Her work has appeared in three editions of Best American Poetry, BAX: Best American Experimental Writing, the Academy of American Poets Poem-a-Day, and a number of anthologies and journals. She teaches at Rochester Institute of Technology.

IN STILL ROOMS

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Project Description:  IN STILL ROOMS is more than a haunted house novel—a strange hybrid drawing its aesthetic equally from ancient Greek drama, ecopoetics, and the Gothic tradition. Set in an old house in rural East Tennessee, three generations of a Greek-American family mourn the loss of a matriarch who reveals herself to each of them uniquely. Regardless of the family’s comings and goings, the reader remains always in the house. In this house, religion, mythology, and superstition all rule equally. In this house, saints speak to mothers from their plaques on the wall; ancient deities manifest in the minds of children; a Chorus of those who have previously died there address the reader directly; and ultimately, the house itself begins to speak.

 

 

In Still Rooms: A Close-Quarters Epic – an OS Interview with Constantine Jones
stacking of years on top of years – an excerpt from In Still Rooms, for the OS’s [RE:CON]CRETIONS series

 

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Constantine Jones is a Greek-American thingmaker raised in Tennessee & currently housed in Brooklyn. They are a member of the Visual AIDS Aritst+ Registry & teach creative writing at CCNY. Their work has been performed or exhibited at various venues across the city & their debut hybrid haunted house novel, IN STILL ROOMS, was released from The Operating System on March 4th, 2020.

2019 Projects - Full Lengths

I MADE FOR YOU A NEW MACHINE AND ALL IT DOES IS HOPE

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Project Description: I made for you a new machine and all it does is hope concerns itself with the language of prayer and the action of prayer. Many of the poems, the [psalms] in particular, are the product of holding some word or phrase or sound in mind and mouth until it somehow exhales and reveals what word or phrase or sound it leads to. It’s something more or less or not at all like dusting off some map that has always been exactly as it needed to be, that has never not existed.

Increasing the Mass of the World– an OS Interview with Richard Lucyshyn

Excerpts appear at Reality Beach and Gramma:

http://realitybeach.org/issue-5/lucyshyn/
https://gramma.press/weekly/richard-lucyshyn-one-poem/

Richard Lucyshyn lives in Richmond, VA, with his family. He currently splits his time teaching poetry and creative writing at The College of William and Mary and being a stay-at- home parent with his young children.

Y

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Project Description: Much like you, Y is a catalyst — an indeterminate variable active in cultural production. A collective organism in the waste stream, Y bemoans their leaching marrow, tries strengthening their aging spine with a hula hoop. In grocery stores, in art galleries, at dentist offices and fuel transfer stations, Y hoops to lament, invent and foment. Y’s looping traces analogy-n-ratio as if relation were the life-blood linking bodies to orbits. Y wants to impeach.

Jaw gyrates. Hips open. Round and round, Y circumscribes the body politic in a kind of agitprop theatre that protests POTUS, pipelines, and spies. Trying to energize and not terrorize, Y gathers beloveds to fight for food justice, for safe environs. As a printed matter, the book Y is the textual residue of labor and play. A curious body holds, twists, then bounces a prop. Y calls these “poems” or “stories” a “somatic trick.” In sum, Y’s sonic practice is an interspecies interaction created to cope with the year 2017 — its corpses and bar codes. Y is a little free speech corral.

Indeterminate Variables in the Face of Danger – an OS interview with Lori Anderson Moseman

Creator/collator Lori Anderson Moseman’s most recent poetry collections are Light Each Pause (Spuyten Duyvil), Flash Mob (Spuyten Duyvil), and All Steel (Flim Forum Press). An avid collaborator, Anderson Moseman worked with book artist Karen Pava Randall to create Full Quiver (Propolis Press), with poet Belle Gironda to make Double Vigil (Lute & Cleat) and printmaker Sheila Goloborotko to produce insistence, teeth (Dusie 17) and Creation (Goloborotko Studios). With a nine-member team of artists and writers (Stricker, Herrera, Mesmer, Switzer et. al.), Anderson Moseman is currently creating Mar, an artist book/box of mar(k) postcards (Lute & Cleat). A former educator, farm journalist and forester, Anderson Moseman founded the press Stockport Flats in the wake of Federal Disaster #1649, a flood along the Upper Delaware River. Anderson Moseman has a Doctor of Art in Writing, Teaching and Criticism from the University at Albany, a Master of Fine Arts in Poetry from the Iowa Writers’ Workshop, an Master of Fine Arts in Integrated Electronic Arts from iEAR Studios at Rensselaer Polytechnic Institute.

THE SUITCASE TREE

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Project Description: Filip Marinovich, author of The Suitcase Tree, writes: “I started writing a book based on a failed trip to Belgrade where I was supposed to stay for a month but only could stay four days due to breakdown insomnia grief mind voices. Went back to New York and listened to the book stop start. Then my uncle died. In the book we had the conversation I couldn’t have with him in Belgrade.”

The Frenetic Architecture of Delivery – an OS interview with Filip Marinovich

Filip Marinovich is a poet and teacher living in New York City. Author of WOLFMAN LIBRARIAN, AND IF YOU DON’T GO CRAZY I’LL MEET YOU HERE TOMORROW, and ZERO READERSHIP, all from Ugly Duckling Presse. He teaches his longtime workshop READING POETS BY SUNSIGN at Page Poetry Parlor in Chelsea Manhattan, at the intersection of Queer Poetry, Astrology, and Outer Space Friendships.

A BONY FRAMEWORK FOR THE TANGIBLE UNIVERSE

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Project Description: A Bony Framework for the Tangible Universe is a hybrid collection of lyric essays, poems, dictionary erasures, and images that emerged out of the poet’s diagnosis, in their mid-twenties, with a connective tissue disorder. Slipping in and out of intimate interiors, open fields, city sidewalks, flowering gardens, construction sites, doctor’s offices, and fluctuating shorelines, the speaker gathers answers to the question: What holds us together when the body falls apart? Imperfect solutions arrive in the form of queer intimacy and kinship, long-term relationships with landscapes, collections of strange and familiar objects, and language itself. A Bony Framework for the Tangible Universe is constantly breaking and and putting itself together in a messy cycle of adaptation and resistance.

Wholeness through Hybridity – An OS interview with D Allen

D. Allen is a queer poet and multidisciplinary artist whose work often examines gender, intimacy, disability/illness, and the natural world. Their work takes many forms: word architectures, painted surfaces, light drawings, textured sounds, soft spaces, slow dinners, sustained listening, tender assemblages, quiet gardening, deep breaths. They value each of these endeavors equally. D. earned an MFA from The University of Minnesota, and has received a VSA Minnesota Emerging Artist Grant, a Minnesota State Arts Board Artist Initiative Grant, a Minnesota Emerging Writers’ Grant from The Loft Literary Center, and a Michael Dennis Browne Fellowship. They have been an artist in residence at Mallard Island, The Lighthouse Works, Write on Door County, the H.J. Andrews Experimental Research Forest, and The Atlantic Center for the Arts, and their work has been published in Rogue Agent, District Lit, Black Warrior Review, QDA: A Queer Disability Anthology, and elsewhere. A Bony Framework for the Tangible Universe is D.’s first book.

DREAMING (ŚNIENIE)

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Project Description: Dreaming (Śnienie) is a collection of lyric fragments that revolve around dreams and the way they reflect, refract, and seep into the waking world. Read individually, the fragments are measured and contemplative, imagistic and surreal, and peppered with humor of the absurd. Taken together, we start to notice obsessions and threads that serve as lodestars guiding us through the chaotic unconscious. Figures and events return, but what’s most recognizable about them is their tendency toward transformation and flux. Aphorism-like truths are posited, then questioned. An idea comes to light, then blends into a fabric of images, literatures, religions, histories, and the quotidian everyday, and becomes something else altogether.

The Barefoot Anthropos Starts Something New – Marta Zelwan in Conversation with Victoria Miluch

Marta Zelwan is a Polish writer based in Warsaw. She has published nine books, including collections of poetry, prose, and essays. Two of her books have been nominated for the Nike Award, Poland’s most prestigious literary award, and she has won the Iskry Press Prize, the Literature Foundation Prize, the Stanislaw Piętak Prize, and the Edward Stachura Prize, as well as the Culture Foundation Prize.

 

Agnieszka Brzezanska (born 1972, in Gdańsk) is a Polish artist based in Warsaw.

 

Victoria Miluch is a fiction writer and translator. Her stories have appeared in such publications as Passages North, The Southeast Review, and The Adroit Journal, and her translations can be found in Asymptote and the Denver Quarterly. A recipient of a Fulbright fellowship, she now lives abroad.

OF COLOR: POETS' WAYS OF MAKING

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Project Description: How do poets of color come to know what they do about their art and practice? How do they learn from and teach others? For poets of color, what does the relationship of “what one knows” have, with conditions extending but not limited to publishing, mentorship and pedagogy, comradeship and collegiality, friendship, love, and possibility? Is one a real poet if one does not have an MFA? For minority poets not considered part of the mainstream because of the combined effects of their ethnic, class, racial, cultural, linguistic, and other identities, what should change in order to accord them the space and respect they deserve? How best can they discuss with and pass on what they have learned to others?

These and other questions come up so consistently in our daily experience as poets of color. And we hear them from poets of color at various stages of their careers. Out of the desire not only to hear from each other but also to share what we’ve learned–each from our unique as well as bonded experiences of writing as poets of color in this milieu–this anthology project was born.

In this collection, we make no claims of presenting any definitive theoretical or other stance. Neither do we offer these essays as prescriptive of certain ways of thinking of craft or of doing things, although in them is expressed a collective wish–that writers of color find ways to gain strength and visibility without replicating the systems that play the game of divide and conquer and turn us against each other for narrow or self-serving profit. Instead, let there be a steady effort to compile lore and take inventory of strategies, intersections, bridges; to map our histories, to sight possibilities for the future.

We are honored and thankful to have the words of the following poets in this anthology: Mai Der Vang (Foreword), Ching-In Chen, Addie Tsai, Tony Robles, Wendy Gaudin, Ernesto L. Abeytia, Abigail Licad, Tim Seibles, Melissa Coss Aquino, Sasha Pimentel, Jose Angel Araguz, Khadijah Queen, Remica L. Bingham-Risher, Ocean Vuong, Craig Santos Perez, and Kenji Liu.

Luisa A. Igloria is the winner of the 2015 Resurgence Prize (UK), the world’s first major award for ecopoetry, selected by former UK poet laureate Sir Andrew Motion, Alice Oswald, and Jo Shapcott. Former US Poet Laureate Natasha Trethewey selected her chapbook What is Left of Wings, I Ask as the 2018 recipient of the Center for the Book Arts Letterpress Poetry Chapbook award. Other works include The Buddha Wonders if She is Having a Mid-Life Crisis (Phoenicia Publishing, Montreal, 2018), Ode to the Heart Smaller than a Pencil Eraser (2014 May Swenson Prize, Utah State University Press), and 12 other books. She teaches on the faculty of the MFA Creative Writing Program at Old Dominion University, which she directed from 2009-2015. Her website is: www.luisaigloria.com

 

Amanda Galvan Huynh is the author of a chapbook, Songs of Brujería (Big Lucks, 2019). She has received fellowships from The MacDowell Colony, the Sewanee Writers’ Conference, Sundress Academy for the Arts, Vermont Studio Center, NY Summer Writers Institute, and Robert Rauschenberg Foundation. She is a winner of a 2016 AWP Intro Journal Project Award, and a finalist for the 2017 Poetry Society of America Chapbook Fellowship. www.amandagalvanhuynh.com

ARK HIVE

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Project Description: Exploring a tangled, unsettled love for place amid the landscape, cultures, and social and ecological crises of South Louisiana, ARK HIVE seeks amid the ruins for answers–what does it mean to be here, now? Following the ley-lines carved out in the streets and bayous of a rapidly eroding landscape, this collection refuses stability, confident of only the riddle and the manifold voices activating it. Reed’s formal hybridity juxtaposes hand-made maps, collaged language, and altered documents with lyrics and lyric essays: “fragments [from] journals, photographs, memory, archives–time capsule of a disintegrating world.” ARK HIVE bears its loves and dead along the current of the work’s own profligate vegetative urge–accretions of history and immersion, saturations of grief and delight. Tender and monumental, a teeming hive of voices, ARK HIVE returns an extraordinary, vanishing world to the center of our attention.

ARK HIVE is Marthe Reed’s sixth book. Previous titles include: ‘Nights Reading’ (Lavender Ink, 2014); ‘Pleth, ‘ with j hastain (Unlikely Books, 2013); ‘(em)bodied bliss’ (Moria Books, 2013); ‘Gaze’ (Black Radish Books, 2010); and ‘Tender Box, A Wunderkammer’ (Lavender Ink, 2007). She is also author of six chapbooks, including a collaborative chapbook, ‘thrown, ‘ featuring text by j hastain with Reed’s collages, which won the 2013 Smoking Glue Gun contest (2016). Her poetry was published inBAX2014, New American Writing, Golden Handcuffs Review, Entropy, New Orleans Review, Jacket2, Fairy Tale Review, Exquisite Corpse, The Volta, and The Offending Adam, among others. Her poetry reviews have appeared in Jacket2, Galatea Ressurrects, Openned, Cut Bank, New Pages, The Rumpus and Rain Taxi. Marthe was co-publisher and managing editor for Black Radish Books. This book is published in memoriam — Marthe passed away suddenly in the Spring of 2018.

IN THE DRYING SHED OF SOULS/ EN EL SECADERO DE ALMAS

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Project Description: A Spanish-English Dual Language anthology featuring selections from Cuba’s “Generation Zero,” including Luis Yuseff, Isaily Pérez González, Javier Marimón Miyares, Leymen Pérez García, Marcelo Morales Cintero, Oscar Cruz, Liuvan Herrera Carpio, Jamila Medina Ríos, Moisés Mayán Fernández, Legna Rodríguez Iglesias, and Sergio García Zamora.

In the Drying Shed of Souls: Poetry from Cuba’s Generation Zero, with its focus on poets born after 1970, offers a poignant sampling of some of the most exciting writing being produced in Cuba RIGHT NOW! Coming of age during the economic struggle of Cuba’s Special Period, these writers show no patterns of allegiance to the ideological or aesthetic camps that have defined the Cuban literary world before and after the Revolution. Taken together, these poems advance the rich tradition of Cuban poetry. The selection is finely edited and remarkably translated by Katherine M. Hedeen and Víctor Rodríguez Núñez, poets, scholars, translators and avid chroniclers of contemporary Latin American letters. The poems in this anthology interrogate the nation and its history; exile; the richness and poverty of language; the visceral realities of the body; domestic violence; and epistemology and the nature of meaning, among other themes. To read them is to get an indelible sense of a Cuban poetry scene that is formally dazzling, civically critical, and deeply engaged with the question of what a poem can mean to a public. In their erudite and provocative introduction, Hedeen and Rodríguez Núñez assert that contemporary Cuban poetry gets largely ignored both in the Spanish-speaking world and in North America because of its failure to adhere to literary and sociological expectations. In the Drying Shed of Souls demands that we take these writers on their own terms, as poets who have built a stunning and urgent body of work that is personal, universal, political, philosophical, and unafraid.”

— Daniel Borzutzky, 2016 National Book Award Winner

Katherine M. Hedeen is a translator, literary critic, and essayist. A specialist in Latin American poetry, she has translated some of the most respected voices from the region. Her publications include book-length collections by Jorgenrique Adoum, Juan Bañuelos, Juan Calzadilla, Juan Gelman, Fayad Jamís, Hugo Mujica, José Emilio Pacheco, Victor Rodríguez Núñez, and Ida Vitale, among many others. She is a recipient of two NEA Translation grants in the US and a PEN Translates award in the UK. She is the Associate Editor for Action Books and the Poetry in Translation Editor at the Kenyon Review. She resides in Ohio, where she is Professor of Spanish at Kenyon College.

TRANSITIONAL OBJECT

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Project Description: In developmental psychology, transitional objects are objects to which young children develop intense and persistent attachments in unstable situations — a tendency which some psychologists link to the processes of individuation, ego development, the birth of memory, the capacity for empathy and object-relations, the capacity for symbolization, and other formative capacities. In this debut work by Adrian Silbernagel, which can be described as a poetic inquiry into the conditions of personal identity or selfhood, the poems themselves become the objects to which the developing speaker clings as the various components of their identity — their gender, sexuality, religious beliefs, familial relations, and formative relationships — are called into question.

Identity by Way of Metaphor: An OS Interview with Adrian Silbernagel

Adrian Silbernagel is a queer + trans poet, writer, and advocate. He grew up in a small town near Fargo, North Dakota, and considers Fargo home. He spent a couple of years in Lubbock, Texas, where he earned a Master’s degree in philosophy before moving to Kentucky. Currently he and his partner live in Louisville, where he manages a coffee shop, works on poems, and occasionally travels to other parts of Kentucky to give talks on various aspects of his experience as a trans man. Adrian also runs a web series through the Operating System called Field Notes, where creative practitioners from all disciplines and backgrounds are invited to shine a light behind the curtain on their creative process. Adrian’s work been published in The Columbia Review, The Atlas Review, TYPO, PANK, Painted Bride Quarterly, Cosmonauts Avenue, Fruita Pulp, and elsewhere. Find more of Adrian’s work online at adriansilbernagel.com.

OPERACIÓN AL CUERPO ENFERMO / OPERATION ON A MALIGNANT BODY

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Project Description: This dual-language collection of prose poems and diagrams leverages the late prolific queer Mexican poet Sergio Loo’s diagnosis with cancer (an Ewing’s Sarcoma in the left leg) to explore anatomical, linguistic, and social relationships between queerness and disability. With an introduction from Loo’s friend, Mexican writer Jonathan Minila.

De/Formations at the Margin: Body Beyond Metaphor: Thoughts on Sergio Loo’s Operación Al Cuerpo Enfermo / Operation on a Malignant Body, from translator Will Stockton

Sergio Loo (1982-2014) was a prolific Mexican writer at the forefront of contemporary queer Latinx poetics. Prior to his death from cancer at the age of thirty-one, he authored several collections of poetry, including Sus brazos labios en mi boca rodando (2007); and a novel, House: retratos desarmables (2011).
Will Stockton is a professor of English at Clemson University. As an early modernist, his books include Members of His Body: Shakespeare, Paul, and a Theology of Nonmonogamy (Fordham University Press). With D. Gilson, he is also the author of Crush (Punctum Books) and Jesus Freak (forthcoming from Bloomsbury).
OPERA ON TV

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Project Description: Opera on TV is a collection of experimental poetry/theory that examines the role of aesthetic practice in political subject formation, particularly for queer and trans subjects. The book addresses the role of state institutions and economic structures in making our lives intelligible — from our interpersonal relationships to our political identities and artistic endeavors. Many of the poems blend explorations of queer feminist aesthetics and politics with musicality and lyricism, in a variety of forms, such as prose blocks, lists, and transcripts. Drawing connections among themes of beauty, nostalgia, ideology, and liberation, Opera on TV suggests ways to complicate the notion of art as a mode of political education.

The Sensorium Shift of Immersion: An OS Interview with James Lowell Brunton

James Lowell Brunton’s poems and experimental writing appear in Denver Quarterly, Cincinnati Review, Hotel Amerika, and other journals. He is the author, with Russell Evatt, of The Future Is a Faint Song (Dream Horse Press, 2014). James teaches critical theory and poetry in the Department of English at the University of Nebraska-Lincoln.

STREET GLOSS

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Project Description: In this experimental translingual work, Brent Armendinger follows the work of five contemporary Argentinian poets into the streets of Buenos Aires, attempting to map the ways a word might be an echo of the city itself. Interested in the surface areas of language and the generative potential of failure in translation, the author follows a set of procedures oriented simultaneously in the lines as well as in the streets of the city, gathering impressions, associations, and language through unpredictable encounters with the place and its inhabitants. Notes from these encounters appear interlaced, here, between the original poems in Spanish and their translations. Featuring poems by Alejandro Méndez, Mercedes Roffé, Fabián Casas, Néstor Perlongher, and Diana Bellessi, and artwork by Alpe Romero.

Dream, Chew, Leak, Stumble, Spiral, Listen, Trace, Touch, Return: An OS Interview with Brent Armendinger

Brent Armendinger was born in Warsaw, NY, and studied at Bard College and the University of Michigan, where he received an Avery Hopwood Award in Poetry. In addition to ‘Street Gloss,’ Brent is the author of ‘The Ghost in Us Was Multiplying’ (Noemi Press, 2015), a finalist for the California Book Award in Poetry, and two chapbooks, ‘Undetectable’ (New Michigan Press, 2009) and ‘Archipelago’ (Noemi Press, 2009). His poems and translations have appeared in many journals, including Anomaly, Asymptote, Aufgabe, Bloom, Colorado Review, Denver Quarterly, Ghost Proposal, Hayden’s Ferry Review, LIT, Puerto del Sol, Volt, and Web Conjunctions. He is a recipient of residencies from Blue Mountain Center and Headlands Center for the Arts. Brent teaches creative writing at Pitzer College and lives in Los Angeles.

HALL OF WATERS

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Project Description: HALL OF WATERS is an attempt to demythologize the rural American Midwest through the specific example of the author’s hometown, Excelsior Springs, MO. Through lyric essay & memoir, the book seeks to examine & undercut the inherent settler white supremacy of the Midwestern small-town, to deromanticize the nostalgia for land & place that is the hallmark of Midwestern art, & to think about what it was like growing up queer & trans in such a toxic environment.

Demythologized Ground: An OS Interview with Berry Grass.

Berry Grass has lived in rural Missouri, Tuscaloosa, & now Philadelphia. Their essays & poems appear in DIAGRAM, The Normal School, Barrelhouse, Sonora Review, BOAAT, and The Wanderer, among other publications. They are a 2019 nominee for the Krause Essay Prize. Their chapbook, Collector’s Item, was published in 2014 by Corgi Snorkel Press. They recieved their MFA from the University of Alabama, where they served as Nonfiction Editor of Black Warrior Review. They curate “Tragic: the Gathering,” an occasional transgender reading series in South Philly. When they aren’t presently reading submissions as Nonfiction Editor of Sundog Lit, they are embodying what happens when a Virgo watches too much professional wrestling. Follow at @thebgrass on Twitter, @berry.grass on Instagram.

A YEAR OF MISREADING THE WILDCATS

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Project Description: wildcat: a boring, an aperture, an exploratory well.
‘a year of misreading the wildcats’ unravels a sprawling, year-long encounter with petroleum that began with a strip of plastic, caught between the branches of a maidenhair tree. This hybrid collection of poetry, prose and Polaroid photography drills the archive for film scores, fiction, and scholarship to recover the intertextual saturations of plastic and plankton, oil and oceans. Toggling between phantom islands and garbage gyres, the Pacific and Pennsylvania, a year of misreading the wildcats documents the impossible project of both environmental literature and photography to critique and catalogue disaster. This collection is a refusal for a narrative, where climate change denies the islands’ one.

An OS Interview with Orchid Tierney

Orchid Tierney is a poet and scholar from Aotearoa-New Zealand. She is the author of five chapbooks: Brachiation (GumTree Press, 2012), The World in Small Parts (Dancing Girl Press, 2012), Gallipoli Diaries (GaussPDF, 2017), blue doors (Belladonna* Press, 2018), and ocean plastic (BlazeVOX, 2019). In 2016, TrollThread published her full-length dictation of the Book of Margery Kempe, Earsay. She is an assistant professor of English at Kenyon College.

ILLUSORY BORDERS

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Project Description: llusory Borders is grounded in a process that incorporates fragments, lists, and reflections on ‘woman’s work.’ It is inspired, in part, by lists discovered in a woman’s day-planner from the 1940’s (a DailyAide Silent Secretary), as well as an erasure created a few years ago from Gertrude Stein’s Tender Buttons — in particular, the section titled “Objects.” This erasure became a list poem which was explored/enacted in different ways over time, eventually creating a series of prose poems/a long poem stitched together by fragments that cut and collaged from that original list. This series/long poem seeks to expand liminal spaces, marginality, the unsaid, the footnotes of dailyness and everyday objects, as well as the artist’s necessity of working in a series: continually ending and beginning.

Objects and the Spaces They Occupy: An OS Interview with Heidi Reszies

Excerpts appear at:

La Vague:
http: //lavaguejournal.com/lavague08/reszies.php

Leveler Poetry:
http: //www.levelerpoetry.com/from-a-paper-likeness-levelheaded/

HEIDI RESZIES is a poet and transdisciplinary artist. She earned an MFA in Writing with a concentration in poetry from Vermont College of Fine Arts, and was a 2015 James Merrill Poetry Fellow at the Vermont Studio Center. Her poetry collection titled ‘Of Water & Other Soft Constructions’ was selected by Samiya Bashir as the winner of the Anhinga Press 2018 Robert Dana Prize for Poetry. She is the founding creator/curator of Artifact Press, and currently resides in Richmond, Virginia where she teaches letterpress printing at the Virginia Commonwealth University School of the Arts. Find her at heidireszies.com.

HIGH TIDE OF THE EYES

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Project Description: The hermit-poet of modern Persian literature, Bijan Elahi (1945-2010) was a modernist poet, a prolific translator of Eliot, Rimbaud, Michaux, Hölderlin, and the founder of Other Poetry, the leading avant-garde movement within Persian modernism. Elahi passed the last three decades of his life in seclusion in his house in Tehran. He stopped publishing poems and never appeared in public following his official retreat. However, a new generation of Iranian poets revived Elahi’s legacy as a poet and a translator as part of their search for new modes of expression and experimentation with language. High Tide of the Eyes translates Elahi’s most important poems, as gathered together in two posthumously published volumes, Vision (2014) and Youths (2015), into English. High Tide of the Eyes will be the first to introduce a key voice in Persian literary modernism to an Anglophone audience.

Elahi’s poetics is distinguished by its diversity of styles and registers. Traversing the borders of ambiguity and clarity, speech and writing, familiarity and foreignness, in Elahi’s work the nuances of the Persian language are registered in ways that are without precedent in Persian poetry. To the translators, the process of creating these translations was like a musha’ira, a Persian tradition of poetic recitation in which one poet completes the other’s poem. The translation process exiled us from our native language and taught us to give voice to Elahi’s poetics in a language it was never intended to inhabit.

The translators have also created a “Commons” of open source information on Elahi:
http: //bijanelahi.hcommons.org

Bijan Elahi (1945-2010) is the hermit-poet of Persian modernism. For much of his life, he was the leading figure in a circle of young poets who developed the movement known as Other Poetry (she’r-e digar), which was to transform Iranian literary modernism. Elegant, meditative, and experimental, Elahi’s poetry offers an unprecedented synthesis of the Persian classical poetic styles with the modernism he inherited from Nima Yushij (d. 1960).
Kayvan Tahmasebian (https: //poets.org/poet/kayvan-tahmasebian) is a poet, translator, literary critic, and the author of Isfahan’s Mold (Sadeqia dar Bayat Esfahan, 2016). His poetry has appeared in Notre Dame Review, the Hawai’i Review, Salt Hill, and Lunch Ticket, where it was a finalist for The Gabo Prize for Literature in Translation & Multilingual Texts in 2017.
Rebecca Ruth Gould is the author of the award-winning monograph Writers & Rebels (Yale University Press, 2016) and the poetry collection Cityscapes (Alien Buddha Press, 2019). She has translated many books from Persian and Georgian, including After Tomorrow the Days Disappear: Ghazals and Other Poems of Hasan Sijzi of Delhi(Northwestern University Press, 2016) and The Death of Bagrat Zakharych and other Stories by Vazha-Pshavela (Paper & Ink, 2019). She is currently director of the ERC-funded project, “Global Literary Theory” and Professor, Islamic World & Comparative Literature, at the University of Birmingham.
ARE THERE COPPER PIPES IN HEAVEN / ERU KOPARRØR Í HIMMIRÍKI

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Project Description: Faroese is a traditionally repressed language though it has made great strides since gaining semi-autonomy from Denmark after WWII. For several decades, Katrin Ottarsdóttir — a pioneer in Faroese filmmaking and poet — has been making work across disciplines, committed to breaking this silence in defiance of the secretive culture in the Faroe Islands that demands it.

Ottarsdóttir’s groundbreaking, award-winning 1999 film, Bye, Bye, Bluebird was the first feature film made in the Faroese language; to date she has made several documentaries, shorts etc., as well as two more award-winning feature films: Atlantic Rhapsody (1989), and Ludo (2014). Ottarsdóttir has since gone on to write two books of poetry. The first, now forthcoming from the Operating System in a rare dual-language translation including the Faroese, is Are there Copper Pipes in Heaven, an autobiographical account of her abusive mother’s drug use and eventual suicide. This book was the first Faroese collection of confessional poetry and was highly controversial in a society that does not make public such personal topics, yet despite this it was awarded the Faroese Litterature Award in 2013. (Her film, Ludo, explores the same material.) In 2015 Ottarsdóttir published the poetry collection Mass For A Film, and in 2016 a collection of short stories, After Before.

Breaking Open the Side of the House: A Conversation with Translator Matthew Landrum

KATRIN OTTARSDÓTTIR is a pioneer in Faroese filmmaking and has made several feature films, documentaries, shorts etc., e.g. the award winning feature films Atlantic Rhapsody (1989), Bye Bye Blue Bird (1999), and LUDO (2014). Born 1957 in Tórshavn, Faroe Islands, she studied film directing at the National Danish Film School. She debuted as a writer in 2012 with the poetry collection Are There Copper Pipes In Heaven (awarded the Faroese Literature Award 2013). In 2015 she published the poetry collection Mass For A Film, and in 2016 a collection of short stories, AFTER BEFORE.

MATTHEW LANDRUM is the author of Berlin Poems (A Midsummer Night’s Press). His translations from Faroese have recently appeared in Asymptote Journal, Michigan Quarterly Review, Image, and Modern Poetry in Translation. He lives in Detroit.

2019 Projects - Chapbooks

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