equus news

Autumn 2021 Publication Announcements

Equus Press are happy to announce a busy publication schedule planned for autumn 2021, aiming to bring out no fewer than six remarkable works by six contemporary experimentalists. Watch this space!

DESERT TILES, by Mike Corrao

BLURB: Desert Tiles brings a fresh spin on the “Corraoesque” theme of text/image coming “alive”, becoming a “semiotic organism,” undertaken here via the twin metaphors of text as a desert and reading as necromancy. The desert here is both literal (as the ever-shifting “dune-script” of meaning) and a place “deserted”, a place of the always-already absent voice, into which the reader is invited to venture out. Reading as necromancy entails summoning the voice of the absent/”dead” author, communing with the past action(s) of signification and by decoding it, yielding messages for (some kind of) the future.

EXCERPT: “You enter the landscape of collaging dune-script. Crossing the threshold between heat and shade. The skin of your face stripped in light. Traversing the desert tiles—architecture of a borgesian deity. Aerial photographs depict an infinite continent. You walk as an ant along the surface, blind to the tableau you stand upon. It does not matter. Not you or your purpose here. Data arrives from the same sourceless regardless. Each tile mirages new iterations of its lineage. All of this to dislodge you from the unconscious position that you have taken up—wastrel-form. The simulacrum draws the intestines from its maw and shapes them into waves along the surface. Standing as a colossal shadow over the ephemeral sands. You watch. Small and unimportant—stepping through the valleys left in its wake.”

PUBLICATION DATE: September 2021

ASSASSIN, by Ryan Madej

BLURB: “Ryan Madej’s Assassin is an experimental novella with a deep esoteric background. In a dead city, a woman with a weapon that can erase its victims from time searches for prey. Lifetimes away, a man searches for a lost manuscript that will give him power over her. In an untouched paradise, an acolyte must choose to walk the path of enlightenment or destruction. Outside the linearity of time, their paths converge and threaten to destroy each other.“ (Jeffrey Howe)

EXCERPT: “So here I am: rested or perhaps restless, in a sphere of my own making. Plumbing the depths of a remote past altered by my own epoche on the concept of linearity, coaxed onward by tiny disturbances that just didn’t look or feel right. Mother and Father, non-existent. No synaptic sparks conjure their images, and I have always wondered how my origin was spawned in this deep, desolate place…a princess of the sands, but more like a lone scorpion whose only true home was ruling over what crawled or slithered. Somehow the shape and significance of numbers and symbols dictated my fate, or at the very least my path toward retirement (murder).”

PUBLICATION DATE: September 2021

WORK, by Richard Makin

BLURB: “Richard Makin’s ongoing oeuvre is already approaching Proustian proportions. But here you will not find the languid cadences of the turn of the 19th/20th centuries, nor the exhaustive exploration of a single set of memories. We are a century on, living in a multi-modal, multi-dimensional world. The narrative voice that seems to surface in each sentence of Makin’s soon expires and is overlaid with another, and then another. And so it goes, beautifully modulated, often amusing; it’s all that there is. It’s a miracle. It’s as if there was the prospect of closure. As if there was continuity.” (Ken Edwards)

EXCERPT: “This requires silence: you lose a certain sharpness waiting for things to become something else, dwelling here in the world, chock full of names. I here refer to the dorsal part of the organism, the cord from which it develops, something reused or altered but still bearing visible traces of an earlier form. In the month of May there are many ferries on the river. (I am dreaming.) A man with a lute passes a remote farmstead. He thought music would ruin his verse. Compare with usage at enthuse. Given a new life with no memories, I would still be capable of sabotage.”


INFINITY IN BITS, by Michael Rowland

BLURB: It would be remiss of a psychologist helping you to interpret a dream were they to simply tell you what the dream meant. Just as with the Tarot. A good reader will indicate to the querent the meanings of the symbols available and the links cards may form with each other, leaving it up to the querent to decide what this means to them. In Infinity in Bits you will see and read things which resonate, and you will be confused and you will be overwhelmed at times. That is, if you accept the invitation to a smorgasbord of visual art, poetry and revelations which have bubbled up and out of Michael John Rowland in bits and pieces, from an infinity of sources, intrinsically and beautifully connected to the 78 cards of the Tarot.

EXCERPT: It’s a myth that the government looks out for you

It’s a myth that art has meaning

It’s a myth that eating carrots helps you see in the dark

And it’s a myth that joy has a ceiling.

I’m proud to have all my own teeth and I’m proud to be able to live on my own without fearing the oncome of inevitable insanity, and proud also to be welcoming blackness with a squirrel’s strong arms.

Can a rabbit look in a squirrels eyes and say, “I forgive you all of your differences. I respect your culture and your burrowing and the speed with which you cover incredible long grassy distances”?


PLAGUE THEATRE, by Ansgar Allen

BLURB: Plague Theatre is concerned with the plague that is already present in society before the virus, or bacterium, or rat. It explores how a society responds to the challenge of an outbreak by unleashing social forces already dormant within its social fabric. As such, it offers an extended meditation on Antonin Artaud’s neglected essay ‘Theatre and the Plague’, in which Artaud claims that the pathogenic cause of each plague is a secondary, or peripheral concern before the real calamity which is cultural and moral. Both plague and theatre achieve, for Artaud, ‘the exteriorization of a latent undercurrent of cruelty’. It is through that cruelty which appears as revelation ‘that all the perversity of which the mind is capable, whether in a person or a nation, becomes localized’.

EXCERPT: “—I can be sure the section about driftwood that I may have, in part, embellished, was the first part of what had once been a more extensive manuscript. That section about driftwood appeared right after the front cover of the leather-bound volume, or so I recall. There were no missing pages before it. The binding of these first pages was still tight by contrast to the bottom half which was entirely rotten by the time I arrived. It came away and disintegrated on lifting. There was a leather strap, but that was rotten too. I suspect the strap once held the manuscript closed.”


SURREALISM IN HAITI, by “André Breton“ (trans. DC Miller)

BLURB: In December 2015, seventy years after his first visit catalysed the overthrow of the Haitian Government of Elie Lescot, the Surrealist leader André Breton returned to Port-au Prince in association with the Ghetto Biennale and the University of Muri to deliver a new series of seven lectures on Surrealism in the 21st century…

EXCERPT: “Therefore, I say – let us resist the resistance. Let us resist the self-deception that dragging one’s feet, or blocking a door, is sufficient when we have places to go – and recognize the superior power of the absolute concept: refusal. The refusal to drift aimlessly – by the affirmation of the drift itself, as the mother of free actions. The refusal of the alibi of pessimism – and the alibi of will and intellect treated like as if they were separate things. The refusal formulated peerlessly by Toussaint L’Ouverture: I refuse to be an instrument or toy.”



About Equus Press

EQUUS was established in 2011 with the objective of publishing innovative & translocal writing.


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"Modernity today is not in the hands of the poets, but in the hands of the cops" // Louis Aragon
"It is the business of the future to be dangerous" // A.N. Whitehead

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"Poetism is the crown of life; Constructivism is its basis" // Karel Teige


“I think we ought to read only the kind of books that wound and stab us. If the book we are reading doesn’t wake us up with a blow on the head, what are we reading it for?…we need the books that affect us like a disaster, that grieve us deeply, like the death of someone we loved more than ourselves, like being banished into forests far from everyone, like a suicide. A book must be the axe for the frozen sea inside us” // Franz Kafka, letter to Oskar Pollack, 27 January 1904
May 2021
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