Bøger udgivet af DABA

A despised landlord. A bookstore owner turned accidental sleuth. Can she inventory her books and the suspects in time?Dena Russo is starting a new chapter of her life in Sugar Springs, Colorado-sinking all her money and energy into launching a bookstore during the Grand Opening of the Sugar Mill Marketplace. She's near the end of her trope, however, as she attempts to turn her novel idea into reality, especially when faced with the ultimate plot twist. Sure, everyone despises the Marketplace landlord, but nobody expected he'd turn up dead!Dena uncovers dark secrets and lies, perhaps spelling the end of everything she wanted from her move to Sugar Springs and destroying the Marketplace before it even opens. With unanswered questions and accusations threatening to close the book forever on the Marketplace and perhaps the entire town of Sugar Springs, Dena attempts to decipher who hated enough to murder. Can Dena get the killer booked before the entire Sugar Mill Marketplace gets shelved?BOOKED is the first book in the Sugar Mill Marketplace Mystery series. If you enjoy laugh-filled cozy mysteries with complex and quirky characters, lots of twists and turns, and pages you can't stop turning, then you'll love Becky Clark's fun, fast fiction. Be sure to read the prequel novella RAT RACE first, as it sets the stage for the first few books in the series.

Foreword by Annie Ratti, Fabio Cavallucci. Text by Marina Warner, Joan Jonas, Anna Daneri, Roberto Pinto, Cristina Natalicchio, Andrea Mattiello.

When President Lincoln sent out the call for a voluntary army to defend the fragileUnion of States threatened by the secession of southern states, some who firstanswered the call were farm boys from western Massachusetts. This is the story of theexperiences of one regiment, the 52nd Massachusetts Volunteers, who fought theRebels in the bayou country of South Louisiana. Every participant in their engagements, the farm boys and their commanders, and the Rebels and theirs, considered south>By chance, two northern soldiers spoke the Acadian French of their Quebec neighbors.A common language permitted them a rare opportunity to communicate with the enslavedwho followed the Union soldiers to freedom without being able to communicate with theirliberators in French-speaking Acadiana.Within the framework of known history, the author has told a compelling story ofyoung men of the 52nd growing up in the crucible of war and older men and womenof disparate cultures first clashing and ultimately recognizing the commonalities oftheir cultures. The reader is delighted to learn that an appreciation of humor and thebizarre are as universal qualities of fellow men as pride and cruelty.

Osman's writing reinvents poetry as an instrument for dissecting vision, language and powerThis extensive collection of poet Jena Osman's acclaimed work spans more than 30 years, gathering poems from journals and books long out of print. Her poetry traces overlooked visual and linguistic incidents across centuries of American history, transforming "official" language--from Supreme Court opinions to the chatter of Predator drone pilots--into writing that is comic, chilling and relentlessly inventive.Jena Osman's (born 1963) books include Motion Studies (Ugly Duckling Presse, 2019), Public Figures (Wesleyan University Press, 2012), The Network (Fence Books, 2010, selected for the National Poetry Series in 2009), An Essay in Asterisks (Roof Books, 2004) and The Character (Beacon Press, winner of the 1998 Barnard New Women Poets Prize). She lives in Philadelphia.

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.

Story Octopus is on another adventure. This time exploring math and numbers. He is on a crusade to help children find the excitement of learning about math and all its' fascination, hopefully to start a lifetime of interest for your child. Through different computer techniques, artwork from the author, and illustrations from the author's six-year-old grandson, Story's crusade to learn about math comes to life. This is an easy to read book using a poetic technique with lots of fun, teaching, pictures. It tells of the many different ways we use numbers and math. Come join the crusade to learn more of the helpful, sometimes mysterious, mathematical world.

Gender theorist Jack Halberstam and author Lynne Tillman discuss the roles of writing, bewilderment and wildness in their work and livesPublished 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.Jack Halberstam (born 1961) is a professor of gender studies and English at Columbia University. Halberstam is the author of seven books, including Skin Shows (1995), Female Masculinity (1998), The Queer Art of Failure (2011) and Wild Things: The Disorder of Desire (2020). Halberstam is now finishing a second volume on wildness titled The Wild Beyond: Music, Architecture and Anarchy.Lynne Tillman (born 1947) is a novelist, short story writer and essayist. Her most recent novel is Men and Apparitions (2018); her latest story collection, The Complete Madame Realism and Other Stories (2016), was published in Spanish in Argentina (2021).

The sequel to Pendleton's acclaimed Black Dada Reader, compiling an anti-canon of radical experimentation and thoughtIn 2011, artist Adam Pendleton (born 1984) assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of "Black Dada." Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents--an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze--formed a kind of experimental canon, realized through what Pendleton calls "radical juxtaposition." In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume.Source texts by Sara Ahmed, Mikhail Bakhtin, Toni Cade Bambara, Amiri Baraka, Augusto de Campos, Hardoldo de Campos, and Décio Pignatari, Angela Davis, Gilles Deleuze, Julius Eastman, Adrienne Edwards, Clarice Lispector, Achille Mbembe, Philippe-Alain Michaud, Charles Mingus, Piet Mondrian, Leslie Scalapino, Leonard Schwartz and Michael Hardt, Juliana Spahr, Cecil Taylor and Malcolm X.

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.

An exacting facsimile of Umbra protagonist Norman H. Pritchard's long-rare 1971 collection of visually kinetic poetryAmerican 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. EECCHHOOEESS 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. Norman 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.