A woman replays her abandonment by her mother, who is sometimes addressed as a male mother-god. She is also abandoned by her lover, to whom she is in thrall. She tries repeatedly to make or receive phone calls with the beloved figures, without success. She waits for their letters and imagines their contents. In a dream-like, torrid sequence, suffering, fear, fatigue and imperfection are apostrophised. Forgetting is examined and toyed with from every angle. Mythical hybrid creatures are invoked: a snake-headed lion, wolf-snakes, a wolf-peacock. How did this come to be? In a cunningly, wittily wrought rush, the unique, unpredictable voice of the narrator speaks from multiple perspectives to express powerful anguish and, ultimately, catharsis.Softcover, 255pp Silver Press, March 2026

When capitalism feels inescapable, theory becomes a weapon to challenge fatalistic totalities. This book explores the limits of the colonization of everyday life by economic logic gone mad. Wherever we are we find ourselves choking, trapped in a world built against us we feel we don’t belong to. A world that is going down the drain. Unable to stop this process as if history has surpassed us, we seem to have missed our opportunity to take hold of the future. We must ask ourselves: why are fatalistic and totalising narratives so prevalent in our times? What would it take to work against fear, to restore a sense of agency and critical comprehension over capitalism’s runaway processes? By tracing and uncovering the subterranean history of the Marxist concept of subsumption within the French ultraleft, Operaismo, the Frankfurt School and Mexican movements, as well as through heated debates within communist circles in the last decade, Abolishing Capitalist Totality offers a profound and critical inquiry into what we understand by capitalist totality and its dominating powers. It addresses radical forms of antagonism: the self-abolition of the proletariat, of gender and race, and explores how these relate to other forms of abolition, thereby opening possibilities for new alliances and constellations. As an integral aspect of interrogating and reorganising the form of the book, poets and artists have been invited to challenge what we perceive as the totality of this book by intervening into its conventions. Our hope is that readers will be able to grasp not only the concepts presented in the book but also its form, in a multifaceted and engaged manner. What has been perceived in recent years as an enclosed capitalist totality is, in fact, composed of concrete processes that we can act upon: how we understand capitalism determines how we abolish capital. Includes texts and interventions from Anthony Iles, Mattin, Andrés Saenz De Sicilia, Bolívar Echeverría, Négation, Federico Corriente, Roland Simon, Anne Boyer, Lisa Jeschke, Em Hedditch,
Loss Choi, Danny Hayward, Sean Bonney, Sacha Kahir, Théorie Communiste, Ray Brassier, Neil Gray, Rob Lucas, Nadia Bou Ali, Jessika Khazrik, Andrei Chitu, Marina Vishmidt, Dimitra Kotouza, and Endnotes.  what is to be done under real subsumption?  Edited by Anthony Iles & Mattin  Softcover, 584 pages, Minor Composition, July 2026

UK cassette and record label Broken Flag was founded in 1982, and whilst not having released anything for a long time, it has never officially ceased to exist. Their primary interest was radical music, noise and power electronics. They first released music by label boss Gary Mundy's project, Ramleh, but later also by Le Syndicat, M.B., Controlled Bleeding, Giancarlo Toniutti and various Mundy solo projects.As Loud As Possible magazine first published the text by Steve Underwood (Harbinger Sound label boss) in 2010, but it is expanded here with additional interviews; updates; a reprint of two issues of Broken Flag's fanzine, "Even When It Makes No Sense"; and reproductions of many of the label's cassette covers. A fascinating read and an indispensable piece of industrial music history.Softcover, 17x24cm, 144pp. Korm Plastics, 2025

In 1984, Frans de Waard founded his label, Korm Plastics, and his music project, Kapotte Muziek. Shortly thereafter, Christian Nijs joined as a member. About a year later that, Frans launched the Opus Dei Society.This harsh noise cassette label released 23 cassettes by the likes of Post Destruction Music, Kapotte Muziek, Death Pact Internal, Factor 6, THU20, 13 Frater 13, A Violated Body, Zweiter Korps, Con-Dom, Nails Øv Christ, Odal, Experiment Incest, Birth of Tragedy, Brutal Love, Vandal X, Het Hilaire Brisdak Ensemble, Une Le Wurg Production, and Information Aggression.In this book, he details the story of each release and, along the way, interviews several key players, including Vidna Obmana, Don van Dijk, David Padbury, Eriek van Havere, Stef Windelinx, and Ameury Perez, while Peter Zincken writes autobiographical notes. There are a few reprinted pieces from the past, such as interviews with Con-Dom and THU20. There's even a recipe! Two additional texts are about Christian Nijs and his venture as a label, Disbuse Transmissions, and a piece on the early works of Peter Zinkcen / Odal.An indispensable read for anyone with a love of harsh noise, power electronics and obscure cassette releases.. Softcover, 17 x 24 cm, 88pp Korm Plastics, 2025

The Adventures of Red Rat and BIGGO — The Present is a remake of Bram konijn en Piet de muis [Bram the Rabbit and Piet the Mouse], a 1982 children’s book by Johannes van de Weert, a veteran of the Dutch punk underground who played with Rondos and The Ex, and who was the force behind Red Rat and Raket editions. The Present is a 2010 remake telling the story of a bully pig who terrifies a poor rat on a daily basis. After a while, the rat falls ill with fear and has to stay in bed. The lonely, evil pig has no one to play with and becomes depressed. The pig gives the rat a present — a bunch of beautiful flowers — and all is well. Now the two can play together. The 2010 remake, featuring different characters and intended for a North Korean audience, was never published. The 2025 English version opens with an introduction by Van de Weert, telling a bizarre story of a failed political career and an absurd vaudeville class struggle behind the seemingly harmless educational children’s book. Designed by Ott Kagovere, the book is printed in edition of 600.Staplebound, 17 x 22 cm (softcover, silkscreen and rispoprint), 32pp Rab-Rab, April 2026,   rab

Karl Marx spent three consecutive summers in the spa town of Karlsbad (now Karlovy Vary in the Czech Republic) in 1874, 1875 and 1876. Egon Erwin Kisch’s 1946 text Karl Marx in Karlsbad reconstructs these three stays. When Marx arrived in Karlsbad to take the waters for the first time, he was suffering, tired, tense, overworked and overly nervous, in other words, he was burnout. Years of political and theoretical work under agonising hardship and constant oppression had left Marx with pleurisy, inflammation of the lungs, inflammation of the nerves in his head, a carbuncle, a lung abscess and sciatica. Marx’s recovery in Karlsbad, surrounded by princes, ministers, aristocrats, chamber singers, adventurers, spies, and courtesans, is a story full of amusing anecdotes and surprises.  E.E. Kisch, described by Anna Seghers as a “detective,” investigated this lesser known period of Marx’s life and resolved some mysteries of international importance. For the first time fully translated, the essay is introduced by its editor, Sezgin Boynik, presenting Kisch within the context of interwar leftist avant-garde internationalism. The afterword by Sam Dolbear and Hannah Proctor revisits the emotional life of Marx and his daughter Eleonor during their visits to Karlsbad, without insulating them from the forces of history. Dolbear and Proctor are both writers and researchers, who have previously worked together on an essay on revolutionary childhood, as co-editors of a series of pamphlets on Walter Benjamin’s Arcades Project, and on dreams, sleep, work, puppets, play, and proletarian children’s theatre. Designed by Ott Kagovere, the book features etchings and photographs of Karlsbad from the 19th century, as well as a colour reproduction of Christian Schad’s portrait of Kisch with tattoos. Softcover, 150 x 215mm, 80 pp Edition of 1000 Rab-Rab, May 2025

Borderline Visible begins as a journey from Lausanne to Izmir in 2022 by two artist friends, one of whom experiences health problems halfway and has to stop. As the other continues towards Turkey, suddenly alone, the narration grows into a moving and troubled psychogeography as it shifts between “we” and “I”, present and past, piecing-together value and meaning from the very human ruins of aspiration, history, and language. Ant Hampton’s careful, at times miraculous, process of reconnection gradually lights up a constellation: voices and earthquakes, the Sephardic diaspora, tourism and forced movement, breakdowns and dementia, the end of the Ottoman Empire, swifts and swallows, Eliot’s The Waste Land and an urgent insight into hidden atrocities at the edge of Europe being funded from its centre.77 min, 232 pages, 16,7x24cmVoice & sound, english version: Ant Hampton Time Based Editions, 2023  Music:Fever, A Warm Poison by Oren Ambarchi. From the album In The Pendulum's Embrace (2007)Corridor Between Days by Perila (2022)Quixotism Parts 1 and 2, by Oren Ambarchi. From the album Quixotism (2014)   Borderline Visible is created by the artist Ant Hampton, who is also co-director of the Time Based Editions series. With a deep focus on liveness, his performance work since 1999 has often involved guiding people through unrehearsed situations using automated devices and a subtle use of instructions and narration.As with all Time Based Editions (about), an audio track combines narration, soundscape, and instructions that guide you over a given time through the book.The work is also experienced collectively as a live event for audiences, presented in theatre, film, sound art and music festivals, museums, book fairs and many other contexts. More info here.

In the wake of his Cause And Effect cassette label and distribution service, Hal McGee launched Electronic Cottage International Magazine. From 1989 to 1991, its six issues focused on the independent home recording community – artists who had developed their craft in the post-punk DIY era. The contributors were nearly all members of the hometaper community. The magazine featured articles providing helpful tips and highlighted the challenges hometapers faced. It included insightful artist and label profiles. And it could be a hotbed of controversy and debate. Though its mission was to serve the hometaper community, Electronic Cottage’s coverage of independent music contributed as much as any of the era’s publications. The 400+ pages produced stand as crucial documents of an era that was melting into the next.   Foreword by Jerry Kranitz, author of Cassette Culture – Homemade Music and the Creative Spirit in the Pre-Internet Age Design by Studio BertinHardcover, 468 pages, 21 x 27 cm Korm Plastics, January 2026

Just Glittering and Idwal Fisher were two collaborative noise zines produced by Mark Wharton, featuring work by the genre’s finest exponents and fans. The first issues of Just Glittering appeared in the late 1990s, and the two zines went on to document a fertile decade of creative noise-making. Back then, you couldn’t walk past a pub in Leeds without hearing windows rattled by a passing Japanese noise artist or effects pedals looped into submission, whilst meat thermometers regularly disappeared into places where no self-respecting meat thermometer would ever wish to go. Grotty rooms above pubs in England saw wild, ear-shattering performances from the likes of Filthy Turd, Smell & Quim and The New Blockaders. Labels put out cassettes tied to sponges, five-inch singles had 500 tracks on them, LPs came in steel boxes, and gigs sank. A lot happened, and these zines documented it in all its messy glory. Here, you will find reviews of those gigs and releases from that period, interviews, tour diaries, charity shop record reviews and word searches in German, culminating in the 2007 four-day New York No Fun Fest.  All issues of Just Glittering and Idwal Fisher are reprinted in this collection.Hardcover, 488 pages, 21×29,7 cm Korm Plastics, March 2025

alphabet poems: for kids! is a collaborative, experimental book of poems and collages that celebrates the sounds and imagery of letters and words as they emerge into meaning. Designed both as a child’s book of poetry and for adults looking to rediscover a language they have lost, this surreal and playful reimagining of an ABC book appeals to kids of all ages. Written for and dedicated to the authors’ children, these poems are love letters to the English language, drawing on avant-garde poetic traditions to celebrate the sounds and imagery of letters and words as they emerge into meaning. Moving through the alphabet – each letter illustrated with a beautiful collage – this book is a journey through the foundations of our language. Surreal, imaginative, playful and unlike any picture book of poetry you’ve read or seen before, alphabet poem is absolutely for kids!, no matter how old they really are.Hardback, A5, 55pp Prototype Publishing, 2020

Olavi Laiho’s aliterative anti-fascist text written in 1944 in Oulu prison just before his execution. First time publsihed in its original Finnish and in English translation. Introduction by Minna Henriksson.   Olavi Laiho (1907-1944) was a writer, political organiser, and communist agitator, who was first imprisoned in 1932 – a time when ‘communist laws’ were in effect in Finland – for producing political material and running an illegal printing press in his home. He opposed Finland’s WW2 era fighting alongside Nazi Germany against the Soviet Union, edited illegal journals, but also planned armed resistance and facilitated correspondence between the party’s leadership in Helsinki and the Soviet embassy in Stockholm. He managed to hide from the police from when the Continuation War broke in summer 1941 until 22nd of December 1942, when he was arrested while visiting his sister in the parish of Paimio. Laiho was sentenced to death for treason and high treason. He was executed on 2nd of September, being the last Finnish citizen to be executed in Finland.  Just a couple of weeks before his execution, Laiho wrote a remarkable essay ‘Katso Koota’ [Look at K], using only words starting with the letter K. It gives a vivid picture of the political situation of the time: the war is still ongoing, but it has become evident that Finland is on the losing side. Not knowing his execution date, Laiho eagerly awaits a new batch of books to arrive at the prison library, enjoying his coffee substitute and the sound of distant music ... ‘Katso Koota’ is an early example of Finnish modern alliterative writing, a lipogram, a literary technique in which every word must start with the same letter. Laiho’s ‘Katso Koota’ predates the French Oulipo (‘workshop of potential literature’) of the 1960s. Considering that he produced his ‘constrained writing’ under conditions of extreme political and cultural confinement, it can be considered a true form of avant-garde subversion.  Published for the first time based on the manuscript at the People’s Archives, the booklet includes its content translation, a short introduction by Minna Henriksson and two illustrations by Kaisa Junttila.  Designed by Otso Peräsaari, the book is printed in 200 copies and is produced in Kalastaman Seripaja silkscreen workshop and If By Magic risography print house. The publication is realised in the context of the Counter-Libraries exhibition at the Library of the Labour Movement, Helsinki.A5 Staplebound, Softcover, 16 pages (Silkscreen and risoprint) Rab-Rab, Helsinki, October, 2025

Felsen’s haunting follow-up to the acclaimed Deceit, a landmark of émigré fiction.  Happiness (1932) is the second novel in Yuri Felsen’s cycle The Recurrence of Things Past. Written as a diary addressed to his beloved Lyolya, it unfolds as an intense stream of consciousness in which Volodya – its anxious, self-scrutinising narrator – revisits the fragile equilibrium of their difficult relationship. When new figures enter Lyolya’s orbit, Volodya’s hard-won certainties begin to collapse. Forced to contend with a series of rivals – a Soviet film star, a dashing ex-soldier, a wealthy businessman – he is driven ever deeper into jealousy and self-analysis, with tragic results. As the relationship fractures, Volodya probes the uneasy bond between emotional suffering and artistic creation, and the elusive nature of happiness itself. Set among the exiled Russian community of interwar Paris, Happiness offers both a vivid social snapshot and an unnerving psychological portrait. Felsen’s exploration of desire, rivalry, masculinity and self-deception, shaped by shifting sexual and emotional mores, feels strikingly modern.trans. Bryan Karetnyk Softcover, 238pp Prototype, 2026

Articles: Shabaka by Tina Edwards, Booker Stardrum by Clifford Allen, Aurora Nealand by Bennett Kirschner, Jazz Now Jazz by Rui Miguel Abreu, The Space Book by Patrick Preziosi, XT by XT (Paul Abbott & Seymour Wright), Naïssam Jalal by Florent Servia, Craig Taborn by Bret Sjerven, the term "Free Jazz" by Pierre Crépon, Alexander Hawkins by Kevin Le Gendre Alan Braufman by Andy Beta, Discaholic column by Mats Gustafsson, album reviews, live reviews, Big Ears Festival photo essay & more.  Softcover, 128 pages We Jazz, Spring 2026

Kahlo/Modotti – Forty Years Later is the result of a visit by Laura Mulvey to the Department of Film Studies at the University of Zurich in November 2022. The booklet contains two texts: Mulvey's evening lecture at the Cabaret Voltaire, revisiting hers and Peter Wollen's exhibition and film on Frida Kahlo and Tina Modotti, and Wollen's 2003 essay on the phenomenon of "Fridamania." Focusing on Wollen's and Mulvey's curatorial work and the accompanying film from 1982, the books aims to draw attention to this lesser-known side of their engagement with film and the visual arts. The binary juxtaposition of Kahlo/Modotti, which the film and the exhibition took as a structural principle in the 1980s, becomes a playful quartet in 2024 – Mulvey/Wollen/Kahlo/Modotti – which rearranges and updates the diverse work steps of retrieval, curatorship, exhibition, filmmaking, reception, and reflection.   Laura Mulvey (born 1941, Oxford) is a feminist film theorist and director. Peter Wollen (1938-2019) was a British film theorist and filmmaker.Edited by Pascal Maslon, Volker Pantenburg, Caroline Schöbi, Linda Waack.  bilingual edition (English / German) Softcover, Staplebound, 64 pages (ill.) Harun Farocki Institut, 2024

Paperback, 93pp Litmus Press, 2025Voyage, War, and Exile collects three essays by Etel Adnan that present a multilayered meditation on the author’s life within and without Beirut. Adnan reflects upon the intricacies of family, place, and language, asking what it means to be an Arab woman and writer in exile at the end of a century in which “Exile became the existential and metaphysical condition for every Arab.” At once deeply personal to the life of the author and yet ubiquitous in inquiry, Voyage, War, Exile pulls us into the shifting landscape of Lebanon and the United States in the 20th Century through a weaving of philosophical reflection and memory. This volume includes artwork by Simone Fattal.

First U.S. edition, originally published in the U.K. by MA BIBLIOTHÈQUE, 2020. Under the neon sky of a sick city, which might be London, a nameless governess oscillates between lucidity and dissociation, solitude and communication, wage labor and escape attempts. A wild and unreliable narrator—ardent, delirious, complicit, vengeful, and paranoid—she embodies a perverse and chaotic resistance. An anti-Bildungsroman in the collapsing first person, Yes, I Am A Destroyer is an unbecoming record of memory and forgetting—a relentless undoing. (MA BIBLIOTHÈQUE)Softcover, 140pp Litmus Press, 2025

For sheer unpredictable brilliance, Gogol may come to mind, but no author alive today takes a reader as far as Helen DeWitt into the funniest, most far-reaching dimensions of possibility. Her jumping-off points might be statistics, romance, the art world’s piranha tank, games of chance and of skill, the travails of publishing, or success. “Look,” a character begins to explain, laying out some gambit reasonably enough, though in the face of situations spinning out to their utmost logical extremes, where things prove “more complicated than they had first appeared” and “at 3 a.m. the circumstances seem to attenuate.” In various ways, each of these thirteen razor-sharp tales carries DeWitt’s signature poker-face lament regarding the near-impossibility of the life of the mind when one is made to pay to have the time for it, in a world so sadly “taken up with all sorts of paraphernalia superfluous, not to say impedimental, to ratiocination.”Softcover, 190pp New Directions Publishing, 2018

The Haitian Chronicles is a graphic and brutal history of the Haitian Revolution told across three plays. It is the final work by the influential and groundbreaking playwright Douglas Turner Ward (1930-2021) and the first play of his to be published in several decades. Though much of his earlier work has been short one-act satires, The Haitian Chronicles takes place across three long plays: The Rise of Toussaint L'Ouverture, The Fall of Toussaint L'Ouverture, and the one-man drama, Dessalines. The Haitian Chronicles is an example of Ward's political commitment to satirizing, dramatizing, and revealing the structures of white supremacy throughout the history of this so-called civilization. His first play, Star of Liberty, written at 19 years of age, was based the life of Nat Turner and the slave revolt he led. With The Haitian Chronicles, Ward returns to armed Black rebellion, taking as its subject matter the first and only slave revolt to successfully establish a free state. It is a self-consciously ambitious work of astounding narrative and theatrical scope, featuring over 80 speaking roles and logistically demanding production design. The narrative onslaught chronicling the disgusting brutality of colonial French society and the bloody force it took to overthrow it overwhelms the reader and challenges one to question the structures on which society is built and the violence it continues to perpetuate.Ward was one of the central, driving forces of the Black Theater movement in the United States. After moving to New York in 1948, he became immersed in the radical political scene in Harlem, writing for The Daily Worker, and studying as an actor. He served as understudy to Sidney Poitier in A Raisin in the Sun, and began a long friendship with fellow actor Robert Hooks. In 1966, Hooks helped produce Ward’s double bill Happy Ending / Day of Absence. Following the success of these plays, Ward was asked to write an editorial for the New York Times in 1966. His article, titled "American Theatre: For Whites Only?", surveyed the ubiquitous, stifling racism of the American theatre and was widely circulated, earning Ward further recognition for his political and theatrical work. With funding from the Ford Foundation, Ward and Hooks, together with Gerald Krone, founded the Negro Ensemble Company (NEC) in 1967. Writing and directing for the NEC over the next several decades, Ward worked with icons such as Paul Carter Harrison, Gus Edwards, Leslie Lee, Errol Hill, Charles Fuller, Derek Walcott and Wole Soyinka. He directed dozens of plays throughout his career including Song of the Lusitanian Bogey, The River Niger and Pulitzer Prize-winning A Soldier’s Play. Ward continued to write until his death in 2021– The Haitian Chronicles is the result of over four decades of work, a superb series of plays by an inimitable writer and artist.First edition. Softcover, 366pp Boo-Hooray, New York, 2020