Maggie O'Sullivan has been a significant force in the alternative British poetry scene since the 1970s. Her international reputation has continued to grow and she is widely regarded as one of the foremost feminist avant-garde writers working in Britain today. This new volume of essays and interviews locates O'Sullivan in the wider context of contemporary British poetry and draws to light the wide-ranging influences which inform her work and her own influence upon a new generation of feminist avant-garde writing. Tackling textual, visual and sound elements in her work her poetry is complex, challenging and rewarding. O'Sullivan is also a compelling performer of her work. Thematically she is capable of tackling animal vegetable and mineral ideas in her writing, drawing on mythological and even shamanistic components that are provocative and sensual. This volume contains contributions from Charles Bernstein, Mandy Bloomfield, Ken Edwards, Romana Huk, Peter Manson, Nicky Marsh, Peter Middleton, Maggie O'Sullivan, Redell Olsen, Marjorie Perloff, Will Rowe, Robert Sheppard, Scott Thurston and Nerys Williams.

Down with beauty explores, in a series of linked dialogues, dramatic monologues and short fictions, the themes of exile, the aftermath of war, paranoia, improvised music and nothingness. The collection is completed with the full text of Nostalgia for Unknown Cities, previously published separately.

This book, spanning two decades of work, contains songs that have never been and never will be sung; anti-lyric and narrative poems for which a musical equivalent has been constructed; and text written specifically for musical purposes. The volume is completed with scores composed by Elaine Edwards of settings of three poems from Ken Edwards' earlier book eight + six.

Jobless, young Dennis Chaikowsky is house-sitting for his parents in the back end of nowhere, near a nuclear power station on the coast. His attempts at musical composition are stymied by his complicated relationship with his Neo-Marxist poet friend, city-dweller Tarquin, his sexual obsession with Alison, a.k.a Wanda, who works in the power station by day and is a singer by night, and his fear and awe of her rock musician husband Severin. It's an unsustainable comedy, but the world outside, natural and unnatural, described in Edwards' unnerving prose, doesn't care."Hypnagogic derangement as the urban dream dissolves before our eyes." Iain Sinclair, The Observer"Really a great sustained resilient and berserk piece of work." Fanny Howe on Nostalgia for Unknown Cities (published asDown With Beauty)

Ken Edwards edited Reality Studios magazine, 1977–88, and founded Reality Street Editions with Wendy Mulford in 1993. He ran the press until it ceased publishing new books in 2016. He currently runs Grand Iota with Brian Marley, dedicated to new prose writing. As well as his poetry, collected here, he has published three novels and other works of imaginative prose, including his memoir of the 1970s, Wild Metrics. He lives in St Leonards on Sea, England, where from time to time he plays bass guitar with the band Afrit Nebula. "Whether we engage with its shifting terms, try to keep time to its cross-rhythms, or gaze in wonder at its aporia, Edwards's poetry is constantly alive, responding triumphantly to every approach.... If anyone is still in doubt as to whether British poetry can equal the powerful innovation of the great American contemporaries, they should read Edwards immediately. He has the rare gift of being able to change the way we perceive both everyday and global reality." -Peter Maber, PN Review [on No Public Language] These poems are written as if with the voice of a flaneur with a walkman. The inspiration and stimulant of music give the lines a jazzy freedom, the reader bobbing along to a quirky image-rhythm. Elsewhere, lines throb with the vibrancy and violence of city life, as Edwards explores scenes of stabbings, mob riots and 'TV's frozen music' in the heads of anonymous city walkers.... his understanding and dexterity in placing 'new stuff' over existing grids consistently produces startling and more-ish formulations. -Gareth Farmer, Signals [on No Public Language] Ken Edwards has produced a book as energetic and witty as it is serious in its send-up of contemporary culture. Edwards absorbs and transforms current lingo (especially computerspeak) with a near-perfect ear. -Marjorie Perloff [on eight + six] The sonnets are made to swallow a mass of unedifying material from the world of corporate finance and business management, from new information technologies, and from bleak despoliated landscapes. Against the stultifying influence of contemporary public discourse, the vitality and playfulness of the sonnets are liberating. -Peter Howarth in The Modern Sonnet [on eight + six]

It is not a book of poems.It is not a long poem.It is not a novel.Nor a volume of short stories.It is not a work of philosophy.It is not an object - like a stone.Yet it drops into the well of nothingness and is never heard of again. a book with no namefuses the optimism of Beckett with the hyperrealism of Stein.

In "Keys to Lasting Joy" you will discover 11 principles gleaned from the life of the apostle Paul as he lived it as a prisoner in Rome when he wrote to the Philippian church. These revelations came during the depths of hardship and despair few experience, yet he shared how God's love is bigger than, and greater than any of our circumstances. These 11 principles will help you prepare the soil of your life in order for the fruit of Joy to be produced in abundance. Also included is a Study Guide. My prayer for you is that you will begin to live life as God intended.

CLASP is an exercise in collective remembering - with, as Lawrence Upton's essay suggests, a consciousness of memory work as also a process of selecting, forgetting and inventing. The original plan had been to focus on the 1970s, the decade during which [Ken Edwards and I] had co-edited Alembic with Peter Barry. Some of those we approached felt they could not usefully remember enough of their poetry activities in this period; some were reluctant to return to the past. Also, as the project developed, it became clear that the original plan wouldn't work: the history did not fit neatly into the limits of the decade. We would have to start earlier to understand the roots of 1970s London poetry, and we would have to stray into the 1980s to see how some of the debates and actions of the 1970s played out. -Robert Hampson, from his Introduction to this volume

Poetry. This volume brings together for the first time a complete collection of the poetry of Bill Griffiths (1948-2007) up until 1980. The text, edited by Alan Halsey in consultation with Ken Edwards of Reality Street, includes the full "Cycles" and "War w/ Windsor" sequences that so astonished readers when they first appeared, as well as much other poetry that was published by his own Pirate Press imprint, Writers Forum and other small presses during the 1970s; and also poems and performance texts that have only made fleeting appearances in ephemeral pamphlets and magazines, or have never been published before.

Ken Edwards' first novel, originally published in 1998, reissued with a new cover. The narrative traces the paths taken by the female protagonist, Eye, on her bicycle, across and out of an unnamed city in the wake of an event she can't remember. Her quest is to face her terror and retrieve the fragments of her life, which lie in the future that never quite arrives, until it does. Ken Edwards is a poet and writer of experimental fictions, and the publisher of Reality Street.