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Document Series #11 Nour Mobarak's Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid's Metamorphoses-a story of unrequited love, patriarchal possession, conquest, and transformation-Mobarak's multimedia and multispecies reimagining splinters the opera's Italian libretto. Alongside English and Greek versions, it is translated into some of the world's most phonetically complex languages-Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon-and Ovid's original Latin. In this process, the narrative-and an artifact of Western culture-is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning. With a preface by the artist, libretti, and an essay by Anahid Nersessian. The book is released in tandem with an album, produced by Recital. Nour Pamela Mobarak (Lebanese American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Piraeus; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d'Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO's TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak's writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalogue, Sphere Studies and Subterranean Bounce was published by Recital (2021). She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program. Anahid Nersessian is a writer living in Los Angeles. She is a regular contributor to The New York Review of Books, and her essays and reviews have also appeared in The London Review of Books, New Left Review, Mousse Magazine, The Times Literary Supplement, and elsewhere. Her most recent book is Keats's Odes: A Lover's Discourse (Chicago, 2021; Verso, 2022).

Passage Series #6In her debut book, Amelia Zhou poses the question, "How do I perform or not perform?" Weaving together poems, fiction, and lyric essay, Repose follows an unnamed woman grappling with the limits of the self on the everyday stage of labor and routine, charting her emergent modes of resistance. She is already steps ahead, deftly shifting between worker and dancer, roving through the haunted space in which a performance has just ended, the ruins of a house, or a skyscraper aflame. Seeking the edges of form-where it exceeds itself, where it breaks down-Repose offers a narrative of girlhood invigorated by the mutual possibilities of dreaming and defiance. Amelia Zhou's Repose is the 2022 Open Reading Period Book Prize winner, and was selected by guest judge Asiya Wadud.Amelia Zhou works with writing and movement, with an interest in exploring their various intersections as they arise in forms such as poetry, prose, or performance. In 2021 she was awarded Gold Prize at the Creative Future Writers' Awards (UK) and was a recipient of the Ultimo Prize (Australia), both for prose. Her work has been published most recently in Overland, LUMIN Journal, and Ambit; exhibited at Orleans House Gallery; with further writing in numerous UK and Australian publications. She holds a MA in Creative Practice from Trinity Laban Conservatoire of Music & Dance (2020) and is an incoming PhD student in English at the University of Cambridge. Born and raised in Sydney, Australia, she now lives in London.

Justin Allen's Language Arts takes up writing as an integral part of an interdisciplinary art practice. Across poems, essays, lyrics, screenwriting, and drawings, works touch on themes of music and subculture, African diasporic language, visual art, and more, bringing together Allen's numerousinfluences into one collection. Justin Allen's Language Arts is the 2022 Open Reading Period Editors' Pick. Justin Allen is a writer and performer from Northern Virginia. With a background in tap dancing and creative writing, his work often combines a variety of art forms. He has been commissioned by The Chocolate Factory Theater and The Shed and has held residencies at ISSUE Project Room and the Center for Afrofuturist Studies. He has received support from Franklin Furnace, Foundation for Contemporary Arts, and the Jerome Foundation, and shared his work both stateside and abroad.

Nico Vela Page's Americón is a collection of poems in Spanglish that weaves a space for the queer, trans body to know the land, and itself, as extensions of each other. The land is the desert of Northern New Mexico, the forgotten Pan-American Highway, the space between our thighs, the quaking cordillera of Chile, the moans of elk, and the ripe fruit waiting to be picked. Through archive, attention, and erotic ecopoetics, Page's debut collection of poems extends far across the page, the gender binary, language, and the Americas to find out who we are by asking where we are. Nico Vela Page's Americón is the 2020 Open Reading Period Book Prize winner, and was selected by guest judge Renee Gladman.

A concept just short of a program, accountability has been taken up as a core principle within leftist organizing and activity over the past quarter century. While it invokes a particular vocabulary and set of procedures, it has also come to describe a more expansive, if often vague, approach to addressing harm within movement work. The term's sudden, widespread adoption as abolitionist concepts began to circulate broadly in recent years cast light on certain shifts in its meaning, renewing the urgency of understanding its relation to militant history and practice. After Accountability is an oral history and critical genealogy of this decisive movement concept that gathers interviews with eight transformative justice practitioners, socialist labor organizers, incarcerated abolitionists, and activists on the left conducted by members of the Pinko collective. An investigation into the theoretical foundations and current practice of accountability, this volume explores the term's potential and limits, discovering in it traces of the past half-century's struggles over the absence of community and the form revolutionary activity should take. ContributorsKim Diehl, Michelle Foy, Peter Hardie, Emi Kane and Hyejin Shim, Pilar Maschi, and Stevie Wilson, and Pinko collective members Lou Cornum, Max Fox, M. E. O'Brien, and Addison Vawters.