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Multiverse

"A debut collection of poetry activated by sampling, troubling, and trespassing"--

The newest entry in the Multiverse series, Tressing Motions at the Edge of Mistakes is a debut collection activated by sampling, troubling, and trespassing.This is a book of what its teenage nonspeaking autistic author Imane Boukaila, calls “tacit treasures.” Where manifestos encounter poems and raps encounter essays, the lyric constellations that mark this debut sing in opposition to those “troubled-abled” who would coerce and control disabled lives. Boukaila offers another way: her “LOL tressed philosophy,” her truth. This liberatory philosophy exists at the periphery, thresholding, in all the places where life opens toward neurodivergent revolution. “Treasures thrive in open spreading spaces,” she writes. From the muddy streams shimmering with trout, to the space storms in the starry skies, to the tressing that exists between minds, Boukaila offers us a chance to make mistakes, to be messy, to learn and unlearn the languages we use to survive.&nbsp;Readers seeking “treasures yet to be uncovered” will find this and more in this expansive collection.

Boukaila I: Tressing Motions at the Edge
of Mistakes

Tressing Motions at the Edge of Mistakes

Poems

"Aster of Ceremonies asks what rites we need now and how poetry, astir in the asters, can help them along"--

A polyphonic new entry in Multiverse—a literary series written and curated by the neurodivergent—JJJJJerome Ellis’s Aster of Ceremonies beautifully extends the vision of his debut book and album, The Clearing, a “lyrical celebration of and inquiry into the intersections of blackness, music, and disabled speech” (Claudia Rankine).Aster of Ceremonies asks what rites we need now and how poetry, astir in the asters, can help them along.&nbsp;What is the relationship between fleeing and feeling? How can the voices of those who came before—and the stutters that leaven those voices—carry into our present moment, mingling with our own? When Ellis writes, “Bring me the stolen will / Bring me the stolen well,” his voice is a conduit, his “me” is many. Through the grateful invocations of ancestors—Hannah, Mariah, Kit, Jan, and others—and their songs, he rewrites history, creating a world that blooms backward, reimagining what it means for Black and disabled people to have taken, and to continue to take, their freedom.&nbsp;By weaving a chorus of voices past and present, Ellis counters the attack of “all masters of all vessels” and replaces it with a family of flowers. He models how—as with his brilliant transduction of escaped slave advertisements—we might proclaim lost ownership over literature and history. “Bring me to the well,” he chants, implores, channels. “Bring me to me.” In this bringing, in this singing, he proclaims our collective belonging to shared worlds where we can gather and heal.The&nbsp;Aster of Ceremonies&nbsp;audiobook read and performed by JJJJJerome Ellis is available everywhere you listen to audiobooks.&nbsp;

Aster of Ceremonies

In The Wanting Way, the second book in Multiverse-a literary series written and curated by the neurodivergent-Adam Wolfond proves more than willing to "extend the choreography."In fact, his entire thrust is out and toward. Each poem moves out along its own underutilized pathway, awakening unseen dimensions for the reader like a wooded night walk suddenly lit by fireflies. And as each path elaborates itself, Wolfond's guiding hand seems always to stay held out to the reader, inviting them further into a shared and unprecedented unfolding.&nbsp;The Wanting Way is actually a confluence of diverse ways-rallies, paths, waves, jams, streams, desire lines-that converge wherever the dry verbiage of the talking world requires hydration. Each poem is an invitation to bathe in the play of languaging. And each poem is an invitation to a dance that's already happening, called into motion by the objects and atmospheres of a more-than-human world. Wolfond makes space for new poetics, new choreographies, and new possibilities toward forging a consensual-felt and feeling-world where we might find free disassembly and assembly together.&nbsp;There is a neurodivergent universe within this one, and Wolfond's poems continuously pull back the unnecessary veil between human and nature.&nbsp;

In The Wanting Way, the second book in Multiverse—a literary series written and curated by the neurodivergent—Adam Wolfond proves more than willing to “extend the choreography.”In fact, his entire thrust is out and toward. Each poem moves out along its own underutilized pathway, awakening unseen dimensions for the reader like a wooded night walk suddenly lit by fireflies. And as each path elaborates itself, Wolfond’s guiding hand seems always to stay held out to the reader, inviting them further into a shared and unprecedented unfolding.&nbsp;The Wanting Way is actually a confluence of diverse ways—rallies, paths, waves, jams, streams, desire lines—that converge wherever the dry verbiage of the talking world requires hydration. Each poem is an invitation to bathe in the play of languaging. And each poem is an invitation to a dance that’s already happening, called into motion by the objects and atmospheres of a more-than-human world. Wolfond makes space for new poetics, new choreographies, and new possibilities toward forging a consensual—felt and feeling—world where we might find free disassembly and assembly together.&nbsp;There is a neurodivergent universe within this one, and Wolfond’s poems continuously pull back the unnecessary veil between human and nature.&nbsp;

The Wanting Way

"In this remarkable debut, which marks the beginning of Multiverse-a literary series written and curated by the neurodivergent Hannah Emerson's poems keep, dream, bring, please, grownd, sing, kiss, and listen"--

In this remarkable debut, which marks the beginning of Multiverse—a literary series written and curated by the neurodivergent—Hannah Emerson’s poems keep, dream, bring, please, grownd, sing, kiss, and listen. They move with and within the beautiful nothing (“of buzzing light”) from which, as she elaborates, everything jumps. In language that is both bracingly new and embracingly intimate, Emerson invites us to “dive down to the beautiful muck that helps you get that the world was made from the garbage at the bottom of the universe that was boiling over with joy that wanted to become you you you yes yes yes.” These poems are encounters—animal, vegetal, elemental—that form the markings of an irresistible future. And The Kissing of Kissing makes joyously clear how this future, which can sometimes seem light-years away, is actually as close, as near, as each immersive now. It finds breath in the woods and the words and the worlds we share, together “becoming burst becoming / the waking dream.” With this book, Emerson, a nonspeaking autistic poet, generously invites you, the reader, to meet yourself anew, again, “to bring your beautiful nothing” into the light.

The Kissing of Kissing

The New Carthaginians

Girl, Swooning

Does loss define us or do we define loss? Tracing the duality of grief as it reverberates through a family, Callie Siskel wrestles with questions of identity and inheritance in precise, lucid poetry. Two Minds indulges and therefore exposes the vanity of turning private pain into art and the pursuit of self-revelation. Drawing on ekphrasis, ars poetica and the prose poem, Siskel expands the elegiac genre as she oscillates between childhood and adulthood, art and mythology, as well as the natural and domestic world. At once cerebral and emotional, Two Minds is an essential meditation on the ways that loss cleaves and doubles our perceptive power.

Two Minds

The third collection from firebrand poet, essayist, and editor Karen McCarthy Woolf whose volumes Bittersweet and Kin introduced a generation of readers to Black British Poets in the Nineties'A true writer. Vulnerable, hilarious and wise' WARSAN SHIRE____________________________________________________A disenchanted walk on foot through the afterlives of colonialism, Unsafe illuminates the effects of gentrification on those who live at its sharp end. The book is situated in the midst of a reckoning with the colonial past that has shaped the UK and its ally the US, Unsafe pulls us into the processes of gentrification, police brutality and class division with an immediacy that makes them impossible to ignore. A moving, critical and fiercely intelligent epic weaving together poetry, documentary and images, Unsafe is a testimony to the remaining spaces we can call free, an interrogation of what it means to be a citizen - and a rallying cry for minoritized people everywhere.

The third collection from firebrand poet, essayist, and editor Karen McCarthy Woolf whose volumes Bittersweet and Kin introduced a generation of readers to Black British Poets in the Nineties

'A true writer. Vulnerable, hilarious and wise' WARSAN SHIRE

____________________________________________________

A disenchanted walk on foot through the afterlives of colonialism, Unsafe illuminates the effects of gentrification on those who live at its sharp end. 

The book is situated in the midst of a reckoning with the colonial past that has shaped the UK and its ally the US, Unsafe pulls us into the processes of gentrification, police brutality and class division with an immediacy that makes them impossible to ignore. 

A moving, critical and fiercely intelligent epic weaving together poetry, documentary and images, Unsafe is a testimony to the remaining spaces we can call free, an interrogation of what it means to be a citizen - and a rallying cry for minoritized people everywhere.

Unsafe

With A Year of Last Things, acclaimed novelist Michael Ondaatje returns to poetry, looking back on a life of displacement and discovery 'My life always stops for a new book by him' JHUMPA LAHIRI 'A generous, moving book' GUARDIAN Born in Sri Lanka during the Second World War, Ondaatje was sent as a child to school in London, and later moved to Canada. While he has lived there since, these poems reflect the life of a writer, traveller and watcher of the world – describing himself as a 'mongrel', someone born out of diverse cultures. Here, rediscovering the influence of every border crossed, he moves back and forth in time, from a childhood in Sri Lanka to Molière’s chair during his last stage performance, from icons in Bulgarian churches to the Californian coast and loved Canadian rivers, merging memory with the present, looking back on a life of displacement and discovery, love and loss. As he writes in the opening poem: Reading the lines he loves he slips them into a pocket, wishes to die with his clothes full of torn-free stanzas and the telephone numbers of his children in far cities Poetry – where language is made to work hardest and burns with a gem-like flame - is what Ondaatje has returned to in this intimate history.

Tressing Motions at the Edge of Mistakes

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