Silver Press, 2918 Martha Berry Hwy, Rome, GA (2026)

10/08/2025

Palestine is everywhere (publishing next week) has been selected by the Bookshelf as one of their October titles 💚

The Bookshelf is a curated subscription that delivers key books, along with bespoke extras, straight to your door. Subscribe and receive Palestine Is Everywhere as your first shipment, accompanied by a postcard of Adam Rouhana’s photograph “Blood Memories” (featured in the book).

Edited by , Palestine is everywhere contains vital dispatches from Gaza — essays, poems, protest chronicles, images and letters from prison — reflecting upon resistance, solidarity and the right to self-determination. Contributors include Alaa Abd El-Fattah, Nasser Abourahme, Amal Al-Nakhala, Muhammad Al-Zaqzouq, Maisara Baroud, Ahmed Bassiouny, Houria Bouteldja, Anees Ghanima, Sahar Khalifeh, Laleh Khalili, Lujayn, Mira Mattar, Lina Meruane, Mohammed Mhawish, Nahil Mohana, Rahul Rao, Nasser Rabah, Adam Rouhana, Ahmad Zaghmouri.

All royalties from this project will be donated to Medical Aid for Palestinians (MAP) and The Arab Group for the Protection of Nature (APN).

Co-published by and

08/29/2025

Channelling Voice conference, 4 September 2025 at Liverpool John Moores University

All welcome! Attend in person (free; no booking required) or by video call. Email [email protected] the day to be added to the Teams guest list. Captioning available.

Channelling Voice explores the political, historical, embodied and methodological production of voices whose sonic powers can be heard and felt.

The day is inaugurated by a keynote performance lecture by vocal and movement artist and culminates with Cathy Lane , Emerita Professor of Sound Arts, weaving together the many threads of the day.

The conference expands BODIES OF SOUND: BECOMING A FEMINIST EAR with three panels:
🎐 Voice in Translation –with Hannah Cobb and Thomas, Gareth Gavin, Kristen Vida Alfaro and chair
🎐 Processing Voice – with , Harriet Morley , Alison O’Daniel .duet and chair
🎐 Transmissions – with Roy Claire Potter, , Syma Tariq and chair

Two films operate as interludes: Verbaaaaatim by , an ensemble of Disabled and non-Disabled musicians, blurs improvisation, live captioning and score; and Contralto by composer , employing the sound of trans women’s voices to explore transfeminine identity from the inside, opening up the intimate, peculiar relationship between gender and sound.

Supported by & in partnership with Silver. Organised by Roy Claire Potter, Irene Revell and Sarah Shin.

07/14/2025

Channelling Voice, 4 September 2025 at Liverpool John Moores University

Channelling Voice conference explores the political, historical, embodied and methodological production of voices whose sonic powers can be heard and felt.

The day is inaugurated by a keynote performance lecture by vocal and movement artist and culminates with Cathy Lane , Emerita Professor of Sound Arts, weaving together the many threads of the day.

The conference expands BODIES OF SOUND: BECOMING A FEMINIST EAR with three panels:
Voice in Translation – How does voice travel and transmogrify? How is it magically and technologically distributed? Hannah Cobb and Nia Davies , Gareth Gavin, Kristen Vida Alfaro and chair address the methods used to do this work on our behalf and the knowledge produced.
Processing Voice – This panel explores the processual, critical and technical support of voices that productively deviate from and stand against the aural norms of voicing. , Harriet Morley , Alison O’Daniel .duet and chair Roy Claire Potter address how linguistic elements of voicing can be held and subverted by approaches to sonic and lyric processing.
Transmissions – Historical, technological and interpersonal distancing is the focus of this panel, as is the apparatus used to separate voices or maintain connection across chasms of disconnection. Roy Claire Potter, , Syma Tariq and chair speak of tools of relation in the archive, the classroom and the airwaves.

Two film screenings operate as interludes: Verbaaaaatim by , an ensemble of Disabled and non-Disabled musicians, blurs improvisation, live captioning and score; and Contralto by composer , employing the sound of trans women’s voices to explore transfeminine identity from the inside, opening up the intimate and peculiar relationship between gender and sound.

Supported by & in partnership with Silver. Organised by Roy Claire Potter, Irene Revell and Sarah Shin.

All welcome; no booking required.

06/22/2025

Ursula K Le Guin and Charles Le Guin protesting the illegal invasion of Iraq in Portland, 7 December 2002

Le Guin had been marching for NO WAR since the 1960s.

📷 Portland Indymedia, archived by Takver’s Initiatives via So Mayer on Bsky

06/12/2025

a kindness/ we all must extend to each other in this game 💌 Sat 14 June

‘are you prepared/ to hide someone in your home indefinitely’, begins Diane di Prima’s Revolutionary Letter #14. Beginning in 1968, poet and radical activist di Prima began writing a series of ‘revolutionary letters’ circulated through free sheets and street performance. Inspired by di Prima’s political urgency and utopian vision, this workshop will involve reading texts from di Prima, June Jordan and others connecting politics and culture, before taking part in some writing exercises designed to bridge freedom dreams with the urgent demand for action.

Sat 14 June, 2pm
15 Great Cumberland Place London W2 2UH

Booking link in bio 🔗 All proceeds will be given to The Sameer Project, a donations-based aid initiative, led by Palestinians in the diaspora, working to supply emergency shelter and aid to displaced families in Gaza

Ticket price includes a complimentary copy of After S*x edited by Edna Bonhomme and Alice Spawls.

Part of the Sickly Sweet Revenge events programme curated by Kika Sroka-Miller and Miranda Pissarides, in association with Hypha Studios and the second Silver Literary Lab, a new series of workshops from Silver Press.

***
Rupinder Parhar writes on race, migration and capitalism. She has published in journals including Race & Class and Journal of Extreme Anthropology.

05/20/2025

“Women’s numinous qualities made them useful as well as dangerous: their secret and often ecstatic festivals, closed to men, were a way for ancient society to discharge or contain messy, unpleasant urges. Some included a ritual called aischrologia, or saying ugly things, in which women shouted insults and dirty jokes at each other as if at a drunken hen party. There was also the practice of anasyrma, or pulling up your clothes to reveal unspeakable things, recommended by Plutarch as a tactic to employ on the walls of a besieged city to repel the enemy. The gendering of sound was a mechanism of control, but it also gave women power and a kind of freedom, as Carson’s creative translations of Sappho’s poems and Greek tragedy make clear.
This sparkling essay, just thirty-three pages long, remains original: packed with insights from her deep immersion in the ancient world, filled with bold connections across time and space, written with a scholar’s rigour and a poet’s wit. She leaves us with the wider questions raised by her investigation: ‘I wonder if there might not be another idea of human order than repression ... another kind of human self than one based on dissociation of inside and outside. Or indeed, another human essence than self.’”

THE GENDER OF SOUND by Anne Carson reviewed by

05/20/2025

Helen Charman reviews AIRLESS SPACES :

‘Shulamith Firestone’s Airless Spaces, the radical feminist writer’s collection of short stories, begins with a dream. A ship is sinking – a ‘luxury liner’, to be specific – and the narrator, fleeing the ‘hysterical’ forced gaiety of the wealthier passengers ‘dressed to the nines’ on the upper decks, is searching in its bowels for ‘something that would supply an air pocket’. She climbs into a refrigerator, hoping to be saved when rescue teams are dispatched to the submerged vessel. Upon waking from her dream, the narrator discovers that a real liner has actually sunk in the night, but, as the disaster happened in the Bermuda Triangle, ‘no attempt would be made’ to recover it.[...]

Lourdes Cintron – who was part of a support group of younger feminists who cared for Firestone during the 1990s and were instrumental in getting the text to publication – warns against, in her contribution to the new edition, reading the story simply as an allegory of Firestone’s psychological ill health. It’s as much about those passengers on the upper decks ignoring the rising waters as it is about the narrator cramming herself into a refrigerator that might as well be a casket.‘

05/14/2025

We are honoured to publish AIRLESS SPACES by Shulamith Firestone with an accompanying Reader including pieces by Laya Firestone Seghi, Lourdes Cintron, Susan Faludi, Chris Kraus, Lola Olufemi and Hannah Proctor.

In 1990, Shulamith Firestone was referred to the Intensive Case Management programme by a psychiatric unit. There she met Lourdes Cintron, to whom she dedicated AIRLESS SPACES ‘as promised in hospital’. Cintron wrote the following:

‘Shulamith’s writing and publishing Airless Spaces is an achievement that counters prejudice and misinformation about people with mental illness as doomed to live in a mental fog. While she was struggling, Shulamith’s intellect, her commitment to feminism, and her humanistic spirit were all intact; she cared for the downtrodden, some of whom she came to know personally during those years of roaming the streets of NYC. She took mental notes during forced hospitalizations, which she later used in the book, and which speak about the strength of her memory. She was waiting for some peace of mind to pour her creativity out again.’

04/06/2025

Happy birthday Leonora Carrington, born on this day in 1917!

‘In many changes of shape, Carrington fulfilled, over nearly a century of work, the task of art as defined by Paul Klee: to make visible the invisible. She conveyed her consciousness, its complex of memory, fantasy, desire and fear, reaching for the apt metaphors to hand from a rich deposit of learning. “The matter of our bodies,” she said, “like everything we call matter, should be thought of as thinking substance.” As Doris Lessing, one of Carrington’s favourite authors, wrote: “The longest journey is in.”’

Marina Warner, from her Afterword to The Debutante and Other Stories by Leonora Carrington, published by Silver Press on Leonora’s birthday in 2017 💛

Image: Self-portrait (Inn of the Dawn Horse) by Leonora Carrington

04/04/2025

‘Putting a door on the female mouth has been an important project of patriarchal culture from antiquity to the present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death. Consider this description by one of her biographers of the sound of Gertrude Stein: ‘Gertrude was hearty. She used to roar with laughter, out loud. She had a laugh like a beefsteak. She loved beef.’

These sentences, with their artful confusion of factual and metaphorical levels, carry with them as it seems to me a whiff of pure fear. It is a fear that projects Gertrude Stein across the boundary of woman and human and animal kind into monstrosity. The simile ‘she had a laugh like a beefsteak’, which identifies Gertrude Stein with cattle, is followed at once by the statement ‘she loved beef’, indicating that Gertrude Stein ate cattle. Creatures who eat their own kind are regularly called cannibals and regarded as abnormal. Gertrude Stein’s other abnormal attributes, notably her large physical size and lesbianism, were emphasised persistently by critics, biographers and journalists who did not know what to make of her prose. The marginalisation of her personality was a way to deflect her writing from literary centrality. If she is fat, funny-looking and sexually deviant she must be a marginal talent, is the assumption.’

THE GENDER OF SOUND by Anne Carson

04/01/2025

Diane di Prima’s REVOLUTIONARY LETTERS signed for Audre Lorde.

💌 via 💌 From her introduction:
‘Whether she’s offering store-cupboard recipes in case of food shortages (“dried fruit and nuts/add nutrients and a sense of luxury”), suggesting what to wear to a love-in or providing advice on how to harbor a fugitive, di Prima’s poetry looks both inwards and outwards, by turns conspiratorial and strident, challenging those in power and extending solidarity with the marginalized. “The only war that matters is the war against the imagination/All other wars are subsumed in it,” she writes in “RANT.” There’s an echo, here, of Lorde’s injunction that “poetry is not a luxury”: both women wrote from a conviction that poetry can offer a vision and blueprint for a transformed society. Contemplating the planet’s impending destruction, di Prima argued that the artist’s role is “to enter more planes, move in more dimensions than we humans had ever dreamed existed.” Her pluralistic outlook and collectivist spirit offer new, vital ways to relate to nature, time, self and other, and encouragement to anyone feeling powerless in the face of ecological catastrophe: “we are/endless as the sea, not separate . . . get up, put on your shoes, get/started, someone will finish.”’

04/01/2025

Diane di Prima’s REVOLUTIONARY LETTERS signed for Audre Lorde.

💌 via , who wrote:
‘Di Prima had long admired the immediacy of the epistolary form, both as a method of intimate address and as a political tool: taking their cue from broadsides, flyers and pamphlets designed to disseminate ideas widely and quickly, between 1961 and 1969 she and LeRoi Jones mailed their free mimeographed magazine The Floating Bear to subscribers—mostly their friends, often poets themselves—who could read and respond to their peers’ new work mere weeks after it was composed, as di Prima put it, “like we were all in one big jam session, blowing.”’

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