by Assem Bazzi

published June 2026

perfect bound trade paperback

9 x 6 inches, 67 pages 

ISBN 978-1-942723-21-9

Endless Night is a poetry book about how the world ends and then resumes. It starts in an uncomfortable bed, wakes up in empty streets, prays for an endless night, witnesses the apocalypse, yearns for a morning after the unbearable, then finally dives back onto a pillow.

Note: Although a release date was originally planned for later this year, disruptions caused by the war have prompted us to forego the press’s usual pre-order schedule and make the book immediately available. If you are in Lebanon, distribution delays under the current ruinous circumstances are inevitable. Also, you are likely to pay lower shipping fees if you order from a vendor closer to home. Librairie Antoine will have copies available for sale in the coming months.

Praise for ENDLESS NIGHT

“This is a document about dislocation, disembodiment and damnation. The poems abandon performative ‘resilience’ and move inwards to embrace the murky experience of mundane, impure, existence. Assem is not even interested in the Trauma Olympics of survivalist epics and the trumpeters of hope, nor the ‘poetic propagandas’ of grandeur, selective memories forged by tears and gunpowder. The empty-eyed, jaded poet/witness whispers a different song. This is a poetics of death (damnation?) in the face of those who tango on our graves and convince us that our accidental martyrdom has meaning. This is less about embracing defeat so much as choosing not to partake in the theatrics of it all.

Endless Night is a nuanced exclamation of humanity, by refusing to be enchanted by either life or death. Just recognizing that we are all fucked. It takes a different kind of courage to embrace Damnation without yielding to it.

Those who have walked in the darkness, who know the stench of ordinary death reeking from the concrete, the witnesses of hollow promises and lurking dooms, they know that the night has been, still is, and will remain. They are too familiar with the Night to be shook by it.”

—Nour M.J. Hodeib, founder of el-Yafta poetry circle

“Somewhere between Beirut and New York, a poet wanders through the streets, searching for the end of an apocalypse.

Endless Night carries the reader through a single, unbroken night where the inner and outer worlds collide. In its span, a life fractures and multiplies; from the quiet ritual of morning coffee to the brutal immediacy of war, to the hushed refuge of a library. Each moment is rendered with clarity and urgency, tracing the shifting contours of what it means to endure, to remember, and to begin again.

Bazzi moves seamlessly between the pulse of spoken word and the discipline of classical poetics, creating a voice that is both immediate and enduring, one that lingers long after the final page.”

—C.J. Raffoul, Chief Editor at Astarte Editing

by Eve Luckring

published October 2025

perfect bound trade paperback

9 x 6 inches, 101 pages 

ISBN 978-1-942723-20-2

Signal to Noise is a haunting of the ears, a fathoming of loss, an appraisal of fragmented attention. Constructed in two parts, the book invites the reader into a state of transitional uncertainty as it navigates the interiority of grief and the precarity of living as a social being. Author Eve Luckring’s progressive hearing disability serves as a sounding board for a dissonant landscape of foiled communication. Through a continual shifting of proximities, Signal to Noise reckons with a network of contradiction, yearning, and fragility implicit to the connectivity of existence.


Praise for Signal to Noise:

“Signal to Noise creates a world of engaging and poignant poems focused on loss, loss of hearing, loss of location, loss from death, and the painful loss of a beloved. This loss is manifest in a bad phone connection, the absence of laughter, an hallucinated ‘I hear her calling my name.’ The book begins with the felt vibrations from ‘a sound I cannot hear’ and an account of traditional hearing tests in which one must repeat a given word. Luckring then cleverly skews the test to write of her estrangement: ‘Say the word fool, lose,’ or ‘writhe, numb.’ Ingeniously, loss of sound is represented in the book by blank pages punctuated by few words, each open to inventive possibilities. In the section, LEXICON words acquire new subjective definitions: INDISCERNIBLE What is the sound of complicity? Or PHASING What is the sound of attention? Judiciously and with wit Luckring makes the reader aware of the shifting nature of meaning: in prose stories; in linguistic change-ups (‘The sweet briefly of wren song’), in puzzling juxtapositions: INDECIPHERABLE : polite as fog at night/: like the mean streak in me/: this bureaucratic logic/: an excuse, withholding and beholden/: delay, deny, defend. This book wonderfully attends to painful subjects with a light and exacting touch.”

—​Martha Ronk, author of CLAY bodies+matter


“‘How can we know what matters / until we know what doesn’t?’ Eve Luckring’s Signal to Noise asks us to tune ourselves toward the uncertainties of loss, and the potential of uncertainty to move in any direction. This powerful collection interrogates why we trust the language we have for all the ways we hear and are heard. Eve Luckring’s line captures both the beauty of clean language and the strata of meanings the mind must interpret when tasked with listening.”

—​C.T. Salazar, author of Headless John the Baptist Hitchhiking 


“This book is delirious, obsessed with meaning and the meaning of meaning. What passes for 'real life' is subsumed by a feverish uncertainty about self and the language self uses to construct itself. In attempting to block out the noise it creates its own buzz, adds to the noise, but there are also moments of clarity and calm where words resolve into a fragile simplicity with tentative, personal meanings attached. It is a liturgy of remembering, an articulation of loss, a sigh, a cry, an extended silence, an interior monologue, a simple tale of a broken relationship and sudden death, a startling, original book that 'is both signal and noise'.”

—​Rupert Loydell, ​“Signal to Noise, by Eve Luckring,” Litter Magazine, November 18, 2025


“Composed around a narrative of a first-person responding to an unnamed ‘her,’ Luckring borrows her title from a phrase for the measure in science and engineering that compares the level of a desired signal to that of background noise; her narrative, then, pings between foreground and background, located between two singular points less fixed than simply on either side. ...Held as a long poem, a book-length pastiche of fragments and self-contained lyric and prose lyric moments that layer and accumulate, almost as a novel-in-lyric, offering pointillist moments that build into a curious kind of narrative portrait. There are elements of dream-state, suggestions of a narrator unreliable, perhaps, uncertain of where the truth might lay across her own perception.”

—​rob maclennan, ​“Eve Luckring, Signal to Noise,” rob maclennan's blog, November 24, 2025


“Eve Luckring’s Signal to Noise grows out of her own experience of progressive hearing disability to become a study in incomprehension, or failed comprehension, or random misapprehension, which is to say it concerns language. . . .
Apart from everything else, this is writing of the highest order, the roll of sounds mimicking the tune beneath the noise in those expansive vowels. This is the signal that breaks through the surrounding noise, which is the world as it goes on around us.”

—​Billy Mills, ​“Recent Reading January 2026: A Review,” Elliptical Movements, January 19, 2026

by Emma Winsor Wood

published September 2025

perfect bound trade paperback

9 x 6 inches, 75 pages 

ISBN 978-1-942723-19-6

In Emma Winsor Wood's taut, luminous poems, understanding remains elusive, always just out of reach. In place of wisdom, she gathers facts—assembling a collection of true things that do not quite form truth. Here, structure is unreliable: a bear nests in a man's bedroom, birds mimic the sound of obsolete technology, a cemetery becomes a park, a prison, a church. In a world dictated by algorithms, scripts, and the volatile California weather, Preferred Internal Landscape asks what remains when systems fail-when the power goes out, when syntax collapses, when visibility gives way to fog. These are poems as controlled burn, smoldering with everything they refuse to say.
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Praise for Preferred Internal Landscape:

“Form as desire, life as content: These elegant documentary poems confess the universal, work at the edges of everyday problems (fog vs. mist, a house without power), and end by denying finality, which is probably the way all things really end. Subtle and startling, Preferred Internal Landscape enacts the slight perspective shift that changes everything, the poet-thought.”

—Elisa Gabbert, author of Any Person Is the Only Self


“Emma Winsor Wood’s Preferred Internal Landscape cracks me up. In the tradition of Buffam, Shapiro, Bludworth de Barrios, and Seuss, her poems are expansive and critical, intrepid and humorously precise. This is a collection of radiantly discombobulating feminist visions—the illusion of a singular ‘reality’ disrupted by a crisp and prosey ‘field of view,’ a purposefully relational perspective. Wood’s is a poetics for the impatient. In just one turn we experience a whole poem’s allotment of marvel, wildness, care, and goof. In Preferred Internal Landscape we nod along to the speaker’s desire to be ‘heard more than … understood’; to be seen for an instant before the power goes out.” 

—Caryl Pagel, author of Free Clean Fill Dirt

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“A transparent account of opacity, Winsor Wood’s second collection is personal but unsentimental, awed, elevated yet down to earth yet the earth is the almost unearthly redwood and sandstone landscape of Northern California, with which the poet triangulates herself and a rotating cast of interlocutors—voices in the news, her husband—playing the tension of the cords that connect them.”
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—Sophia Dahlin, author of Glove Money