Drumroll Please :: Introducing The Operating System Class of 2019!

I could not be more excited to introduce you to the incredible group of creators below. More than ever, this catalog year is demonstrative of the mission of the Operating System — and it represents the first group who have been brought on collectively, networked and connected to each other as a “cohort,” sharing resources and processes horizontally from the first day of onboarding. This group has joined the OS community not only as authors, but as members — not only willing but eager to participate in the next stage of evolution of this organization as a cooperative, decentralized experiment.

2019 will be a banner year for the OS’s imprints, with many volumes representing our well-established “Unsilenced Texts” imprint as well as our new KIN(D) Texts and Projects imprint, focusing on transgender and genderqueer / gender-nonconforming creative practitioners. (We’ll also have texts under our Bowery imprint, but they’ll be announced later.)

What may be less immediately apparent are two other deep running, central foci of the OS’s mission: the prevalance within this catalog of disability, neurodivergence, trauma, mental and chronic illness, and a consistent commitment to formal challenge, interdisciplinarity, hybridity, and experimentation. In more ways than may be visible from the surface, each one of these titles queers the normative, diverges and troubles the expected — and invites us to evolve, alongside.

Speaking of which, there’s always room for growth at the OS, and we’re leaving room in our catalog for performance volumes and collaborative partnership projects (as well as our annual chapbook series, and some other to be announced special OS omnibus editions), so, stay tuned.

But now, without further ado, your OS class of 2019 IS:


Lori Anderson Moseman, Y
D. Allen, A Bony Framework for the Tangible Universe __*KIN(D)
James Brunton, Opera on TV __*KIN(D)
Bijan Elahi, High Tide of the Eyes (Farsi-English dual language, trans. Rebecca Ruth Gould & Kayvan Tahmasebian) __*Unsilenced Texts
Berry Grass, Hall of Waters __*KIN(D)
Richard Lucyshyn, I Made For You a New Machine and All it Does is Hope
Marthe Reed, Ark Hive
Heidi Reszies, Illusory Borders
Hélène Sanguinetti, Alparegho, Pareil-à-rien / Alparegho, like nothing else (French-English dual language, trans. Ann Cefola) __*Unsilenced Texts
Adrian Silbernagel, Transitional Object __*KIN(D)
Orchid Tierney, A Year of Misreading the Wildcats
Marta Zelwan, Śnienie / Dreaming (Polish-English dual-language, trans. Victoria Miluch) __*Unsilenced Texts

Read on below to learn a little more about the incredible work you’re in for, and for an intro to these genius humans. (PS: Did you realize you could sign up to receive a new book in the mail from us EVERY month for just $15 *including shipping* with our book-of-the-month subscription? You’d get this whole catalog in 2019! OMG best deal ever.)


Lori Anderson Moseman, Y

Much like you, Y is a catalyst — an indeterminate variable active in cultural production. A collective organism in the waste stream, Y bemoans their leaching marrow, tries strengthening their aging spine with a hula hoop. In grocery stores, in art galleries, at dentist offices and fuel transfer stations, Y hoops to lament, invent and foment. Y’s looping traces analogy-n-ratio as if relation were the life-blood linking bodies to orbits. Y wants to impeach.
Jaw gyrates. Hips open. Round and round, Y circumscribes the body politic in a kind of agitprop theatre that protests POTUS, pipelines, and spies. Trying to energize and not terrorize, Y gathers beloveds to fight for food justice, for safe environs. As a printed matter, the book Y is the textual residue of labor and play. A curious body holds, twists, then bounces a prop. Y calls these “poems” or “stories” a “somatic trick.” In sum, Y’s sonic practice is an interspecies interaction created to cope with the year 2017 — its corpses and bar codes. Y is a little free speech corral.

Creator/collator Lori Anderson Moseman’s most recent poetry collections are Light Each Pause (Spuyten Duyvil), Flash Mob (Spuyten Duyvil), and All Steel (Flim Forum Press). An avid collaborator, Anderson Moseman worked with book artist Karen Pava Randall to create Full Quiver (Propolis Press), with poet Belle Gironda to make Double Vigil (Lute & Cleat) and printmaker Sheila Goloborotko to produce insistence, teeth (Dusie 17) and Creation (Goloborotko Studios). With a nine-member team of artists and writers (Stricker, Herrera, Mesmer, Switzer et. al.), Anderson Moseman is currently creating Mar, an artist book/box of mar(k) postcards (Lute & Cleat). A former educator, farm journalist and forester, Anderson Moseman founded the press Stockport Flats in the wake of Federal Disaster #1649, a flood along the Upper Delaware River. For information about that press, see http://www.stockportflats.org/. For information about Anderson Moseman, see http://www.stockportflats.org/lori.htm.


D. Allen, A Bony Framework for the Tangible Universe

A Bony Framework for the Tangible Universe is a hybrid collection of lyric essays, poems, dictionary erasures, and images that emerged out of the poet’s diagnosis, in their mid-twenties, with a connective tissue disorder. Slipping in and out of intimate interiors, open fields, city sidewalks, flowering gardens, construction sites, doctor’s offices, and fluctuating shorelines, the speaker gathers answers to the question: What holds us together when the body falls apart? Imperfect solutions arrive in the form of queer intimacy and kinship, long-term relationships with landscapes, collections of strange and familiar objects, and language itself. A Bony Framework for the Tangible Universe is constantly breaking and and putting itself together in a messy cycle of adaptation and resistance.

Excerpts at District Lit and Rogue Agent Journal


D. Allen (http://thebodyconnected.com) is a queer poet and multidisciplinary artist whose work often examines gender, intimacy, illness, and the natural world. Their work takes many forms: word architectures, painted surfaces, light drawings, textured sounds, soft spaces, slow dinners, sustained listening, tender assemblages, quiet gardening, deep breaths. They value each of these endeavors equally. D. has recently received a Minnesota State Arts Board Artist Initiative Grant, a Minnesota Emerging Writers’ Grant from The Loft Literary Center, a Lighthouse Works Fellowship, and an MFA from the University of Minnesota; their work has been published in Rogue Agent, District Lit, Black Warrior Review, QDA: A Queer Disability Anthology, and elsewhere. A Bony Framework for the Tangible Universe is their first book. Follow D at @thebodyconnected on Instagram. (Photo credit: Roy G. Guzmán)


James Brunton, Opera on TV

Opera on TV is a collection of experimental poetry/theory that examines the role of aesthetic practice in political subject formation, particularly for queer and trans subjects. The book addresses the role of state institutions and economic structures in making our lives intelligible — from our interpersonal relationships to our political identities and artistic endeavors. Many of the poems blend explorations of queer feminist aesthetics and politics with musicality and lyricism, in a variety of forms, such as prose blocks, lists, and transcripts. Drawing connections among themes of beauty, nostalgia, ideology, and liberation, Opera on TV suggests ways to complicate the notion of art as a mode of political education.

James Lowell Brunton writes poetry, essays, and experimental works, as well as scholarly articles on queer theory, poetics, psychoanalysis, feminism, and film theory. His creative work has appeared in The Cincinnati Review, Denver Quarterly, Hotel Amerika, The Journal, Diagram, and other journals. He is the co-author, with Russell Evatt, of the chapbook The Future Is a Faint Song (2014). James teaches critical theory in the English department at the University of Nebraska-Lincoln. Find him online at www.jameslowellbrunton.com and follow him on Twitter @JamesLBrunton.


Bijan Elahi, High Tide of the Eyes (Farsi-English dual language, trans. Rebecca Ruth Gould & Kayvan Tahmasebian) __*Unsilenced Texts

The hermit-poet of modern Persian literature, Bijan Elahi (1945–2010) was a modernist poet, a prolific translator of Eliot, Rimbaud, Michaux, Hölderlin, and the founder of Other Poetry, the leading avant-garde movement within Persian modernism. Elahi passed the last three decades of his life in seclusion in his house in Tehran. He stopped publishing poems and never appeared in public following his official retreat. However, a new generation of Iranian poets revived Elahi’s legacy as a poet and a translator as part of their search for new modes of expression and experimentation with language. High Tide of the Eyes translates Elahi’s most important poems, as gathered together in two posthumously published volumes, Vision (2014) and Youths (2015), into English. High Tide of the Eyes will be the first to introduce a key voice in Persian literary modernism to an Anglophone audience.
Elahi’s poetics is distinguished by its diversity of styles and registers. Traversing the borders of ambiguity and clarity, speech and writing, familiarity and foreignness, in Elahi’s work the nuances of the Persian language are registered in ways that are without precedent in Persian poetry. To the translators, the process of creating these translations was like a musha’ira, a Persian tradition of poetic recitation in which one poet completes the other’s poem. The translation process exiled us from our native language and taught us to give voice to Elahi’s poetics in a language it was never intended to inhabit.

Excerpts appear at: Waxwing Mag and Tin House


Rebecca Gould is the author of Writers and Rebels: The Literature of Insurgency in the Caucasus (New Haven and London: Yale University Press, 2016). She is also the translator of After Tomorrow the Days Disappear: Ghazals and Other Poems Hasan Sijzi of Delhi (Northwestern University Press, 2016), and The Prose of the Mountains: Tales of the Caucasus (Central European University Press, 2015). She is Professor of Islamic World and Comparative Literature at the University of Birmingham and can be found on Twitter @rrgould.

Kayvan Tahmasebian is an Iranian poet, translator, and literary critic. He is the author of Isfahan’s Mold (Sadeqia dar Bayat Esfahan, 2016), on the fiction of the short story writer Bahram Sadeqi, and a forthcoming volume on the poet Bijan Elahi. Tahmasebian has also translated Samuel Beckett, Arthur Rimbaud, T. S. Eliot, Francis Ponge, and Stephan Mallarme for various Iranian literary magazines.


Berry Grass, Hall of Waters __*KIN(D)

Hall of Waters is an attempt to demythologize the rural American Midwest through the specific example of the author’s hometown, Excelsior Springs, MO. Through lyric essay & memoir, the book seeks to examine & undercut the inherent settler white supremacy of the Midwestern small-town, to deromanticize the nostalgia for land & place that is the hallmark of Midwestern art, & to think about what it was like growing up queer & trans in such a toxic environment.

Excerpts appear at Wanderer Poetry and The Tiny Mag.


Berry Grass has lived in Kansas City, Tuscaloosa, & now Philadelphia. Their essays & poems appear in DIAGRAM, The Normal School, Barrelhouse, Sonora Review, BOAAT, and The Wanderer, among other publications. Their chapbook, “Collector’s Item,” was published in 2014 by Corgi Snorkel Press. They recieved their MFA from the University of Alabama, where they served as Nonfiction Editor of Black Warrior Review. They curate “Tragic: the Gathering,” an occasional transgender reading series in South Philly. When they aren’t presently reading submissions as Nonfiction Editor of Sundog Lit, they are embodying what happens when a Virgo watches too much professional wrestling. Follow at @thebgrass on Twitter, @berry.grass on Instagram.


Richard Lucyshyn, I Made For You a New Machine and All it Does is Hope

I made for you a new machine and all it does is hope concerns itself with the language of prayer and the action of prayer. Many of the poems, the [psalms] in particular, are the product of my holding some word or phrase or sound in mind and mouth until it somehow exhales and reveals what word or phrase or sound it leads to. It’s something more or less or not at all like dusting off some map that has always been exactly as it needed to be, that has never not existed.

Excerpts appear at: Reality Beach and Gramma

Richard Lucyshyn lives in Richmond, VA with his family. He currently splits his time teaching poetry and creative writing at The College of William and Mary and being a stay-at-home parent with his young children.


Marthe Reed, Ark Hive

What does it mean to be here, now? Exploring a tangled, unsettled love for place amid the landscape, cultures, and social and ecological crises of South Louisiana, ARK HIVE seeks amid the ruins for answers. Following the ley-lines writ in the streets and bayous of a rapidly eroding landscape, this collection refuses stability, confident only of the riddle and the manifold voices activating it. “Amid the soak and flow,” Reed’s formal hybridity juxtaposes hand-made maps, collaged language, and altered documents with lyrics and lyric essays. ARK HIVE bears its loves and dead along the current of the work’s profligate vegetative urge — accretions of history and immersion, saturations of grief and delight. Tender and monumental, a teeming hive of voices, ARK HIVE returns a vanishing realm to the center of our attention, “time capsule of a disintegrating world.”

Excerpts appear in Entropy, Jacket2, Horse Less Review, Otoliths, and at Best American Experimental Writing.


Marthe Reed has published five books: Nights Reading (Lavender Ink, 2014); Pleth, with j hastain (Unlikely Books, 2013); (em)bodied bliss (Moria Books, 2013); Gaze (Black Radish Books, 2010); Tender Box, A Wunderkammer (Lavender Ink, 2007). The author of six chapbooks, her collaborative chapbook thrown, text by j hastain with Reed’s collages, won the 2013 Smoking Glue Gun contest (2016). Her poetry has been published in BAX2014, New American Writing, Golden Handcuffs Review, Entropy, New Orleans Review, Jacket2, Fairy Tale Review, Exquisite Corpse, The Volta, and The Offending Adam, among others. Her poetry reviews have appeared in Jacket2, Galatea Ressurrects, Openned, Cut Bank, New Pages, The Rumpus and Rain Taxi. Co-publisher and managing editor for Black Radish Books, Reed lives in Syracuse, NY. Follow Marthe at @marthereed1 on Twitter and at Marthe Reed on FB.


Heidi Reszies, Illusory Borders

Illusory Borders is grounded in a process that incorporates fragments, lists, and reflections on ‘woman’s work.’ It is inspired, in part, by lists I discovered in a woman’s day-planner from the 1940’s (a DailyAide Silent Secretary), as well as an erasure I created a few years ago from Gertrude Stein’s Tender Buttons — in particular, the section titled “Objects.” My erasure became a list poem which I explored/enacted in different ways over time, eventually creating a series of prose poems/a long poem stitched together by fragments that I’d cut and collaged from my original list. This series/long poem seeks to expand liminal spaces, marginality, the unsaid, the footnotes of dailyness and everyday objects, as well as my own necessity to work in a series: continually ending and beginning.

Excerpts appear at La Vague


Heidi Reszies is a multidisciplinary artist living in Richmond, Virginia. She earned a Master of Fine Arts degree in Writing from Vermont College of Fine Arts, and was awarded a James Merrill Poetry Fellowship at the Vermont Studio Center in 2015. She currently teaches letterpress printing at the Virginia Commonwealth University School of the Arts, and is the creator/curator of Artifact Press. Her poetry has appeared in journals including Meadow, Daily Gramma, Forklift Ohio, La Vague Journal, LEVELER, Queen of Cups, SUSAN/THE JOURNAL, Dream Pop Press, and Salt Hill. Heidi is the author of two poetry chapbooks: Recollections & Reenactments (Zoo Cake Press, 2017) and Flowering Parts (Artifact Press, 2017). Find more of her work at heidireszies.com


Hélène Sanguinetti, Alparegho, Pareil-à-rien / Alparegho, like nothing else (French-English dual language, trans. Ann Cefola) __*Unsilenced Texts

Nominated for the 2006 Prix de Découvreurs and 2005 Prix Helikon, Alparegho, Pareil-à-rien by Hélène Sanguinetti (Editions Comp’Act, 2005) is a seven-part, 93-page poem. Drawing on her native Provence’s troubadour tradition, the poet weaves a surprisingly contemporary tale about Alparegho, a mysterious creature with a flute, on a journey to find his identity. A cast of cats, snails and bears — as well as a central fable — pay homage to La Fontaine. The nimble layering creates what Jean-Marie Perret calls — after Bartok — an “imaginary folklore.”
[Alparegho is] “more chanted than inspired” [ and its characters] “seem to emerge from some primordial tribe or the imagination of a little girl dreaming of an ogre at night.” — Yves di Manno, Vient de paraître
“[Alparegho’s] impulsive and astonishing writing … launches in bursts, through musical effect and shape of language, rockets of meaning,” — Jean-Marie Perret, Blue de Paille
“We have no desire to be anywhere else, if not in Hélène Sanguinetti’s elusive musical movements.” — Gaspard Hons, Le Mensuel Littéraire et Poétique

Ann Cefola’s translations of Hélène Sanguinetti’s work include The Hero (Chax Press, 2018), Hence this cradle (Seismicity Editions, 2007), and poems in journals such as eleven eleven, Exchanges, Inventory, and Transference. Ann is the recipient of a Witter Bynner Poetry Translation Residency and the Robert Penn Warren Award judged by John Ashbery. She is the author of Free Ferry (Upper Hand Press, 2017), and Face Painting in the Dark (Dos Madres Press, 2014). For more on Ann, see www.anncefola.com and www.annogram.blogspot.com.


Adrian Silbernagel, Transitional Object __*KIN(D)

In developmental psychology, transitional objects are objects to which young children develop intense and persistent attachments in unstable situations — a tendency which some psychologists link to the processes of individuation, ego development, the birth of memory, the capacity for empathy and object-relations, the capacity for symbolization, and other formative capacities. In this debut work by Adrian Silbernagel, which can be described as a poetic inquiry into the conditions of personal identity or selfhood, the poems themselves become the objects to which the developing speaker clings as the various components of their identity — their gender, sexuality, religious beliefs, familial relations, and formative relationships — are called into question.

Adrian Silbernagel grew up in a small town near Fargo, North Dakota. His first book of poems, Transitional Object, is forthcoming from The Operating System in early 2019. His work has appeared in The Columbia Review, PANK Magazine, Painted Bride Quarterly, TYPO Magazine, The Atlas Review, Cosmonauts Avenue, Fruita Pulp, and elsewhere. In addition to poetry, Adrian writes educational and autobiographical essays and talks that raise awareness for the queer and transgender community. Currently he lives with his partner in Louisville, Kentucky, where he works for a local coffee shop chain and roaster called Heine Brothers’.


Orchid Tierney, A Year of Misreading the Wildcats

wildcat: a boring, an aperture, an exploratory well.
a year of misreading the wildcats unravels a sprawling, year-long encounter with petroleum that began with a strip of plastic, caught between the branches of a maidenhair tree. This hybrid collection of poetry, prose and Polaroid photography drills the archive for film scores, fiction, and scholarship to recover the intertextual saturations of plastic and plankton, oil and oceans.
Toggling between phantom islands and garbage gyres, the Pacific and Pennsylvania, a year of misreading the wildcats documents the impossible project of both environmental literature and photography to critique and catalogue disaster. This collection is a refusal for a narrative, where climate change denies the islands’ one.

Excerpts / previous versions appear at Radioactive Moat and Pacifica Review.


Orchid Tierney is from Aotearoa-New Zealand, currently residing in Philadelphia. Her chapbooks include Brachiation (Dunedin: GumTree Press, 2012), The World in Small Parts (Chicago: Dancing Girl Press, 2012), Gallipoli Diaries (GaussPDF), and a full-length sound translation of the Book of Margery Kempe, Earsay (TrollThread, 2016). She co-edits Supplement, an annual anthology on Philadelphia writing. Follow at @orchidtierney on IG and at the author’s website, www.orchidtierney.com.


Marta Zelwan, Śnienie / Dreaming (Polish-English dual-language, trans. Victoria Miluch) __*Unsilenced Texts

Dreaming (Śnienie) is a collection of lyric fragments that revolve around dreams and the way they reflect, refract, and seep into the waking world. Read individually, the fragments are measured and contemplative, imagistic and surreal, and peppered with humor of the absurd. Taken together, we start to notice obsessions and threads that serve as lodestars guiding us through the chaotic unconscious. Figures and events return, but what’s most recognizable about them is their tendency toward transformation and flux. Aphorism-like truths are posited, then questioned. An idea comes to light, then blends into a fabric of images, literatures, religions, histories, and the quotidian everyday, and becomes something else altogether.

Excerpt at Asymptote Journal


Marta Zelwan

Marta Zelwan is a Polish writer based in Warsaw. She has published nine books, including collections of poetry, prose, and essays. Two of her books have been nominated for the Nike Award, Poland’s most prestigious literary award, and she has won the Iskry Press Prize, the Literature Foundation Prize, the Stanisław Piętak Prize, and the Edward Stachura Prize, as well as the Culture Foundation Prize.

Victoria Miluch is a fiction writer and translator. Her stories have appeared in such publications as Passages North, The Southeast Review, and The Adroit Journal, and her translations can be found in Asymptote and the Denver Quarterly. A recipient of a Fulbright fellowship, she now lives abroad.