Osmosis Press
@osmosispress.bsky.social
'Someone’s rhythm sneaking in again. Sharing a language. The osmosis of rubbing up. Communing.' (Kathleen Fraser) Ed. Briony Hughes, Saskia McCracken, Cat Chong
as an inevitable eventuality, as ‘You will crash, or / You will run out of gas’, Bussey-Chamberlain perceives the drop dead pride in the ‘buzz of flies’ who linger at both endings of the crash and empty fuel tank. (4/4)
Blurb by @marbledmayhem
Blurb by @marbledmayhem
September 7, 2025 at 5:40 PM
as an inevitable eventuality, as ‘You will crash, or / You will run out of gas’, Bussey-Chamberlain perceives the drop dead pride in the ‘buzz of flies’ who linger at both endings of the crash and empty fuel tank. (4/4)
Blurb by @marbledmayhem
Blurb by @marbledmayhem
is not handsome, a buzz of flies’. Echoing Dickinson’s ‘I heard a Fly buzz - when I died - (591)’, this poem rewrites the fly as the omen of Death’s ego. As Caroline Hogue wrote in 2015, the blowfly ‘pollutes everything it touches. Its eggs are maggots. It is as carrion as a buzzard’. Framed (3/4)
September 7, 2025 at 5:40 PM
is not handsome, a buzz of flies’. Echoing Dickinson’s ‘I heard a Fly buzz - when I died - (591)’, this poem rewrites the fly as the omen of Death’s ego. As Caroline Hogue wrote in 2015, the blowfly ‘pollutes everything it touches. Its eggs are maggots. It is as carrion as a buzzard’. Framed (3/4)
from Alena Smith’s Apple series Dickinson, Bussey-Chamberlain’s collection reimagines Death’s identity in the age of the incel. Interpellated into the poem, ‘When your engine finally gives out Death pulls up, kicks his / door wide open, says Ride or Die. You choose both. Close up / his face (2/4)
September 7, 2025 at 5:40 PM
from Alena Smith’s Apple series Dickinson, Bussey-Chamberlain’s collection reimagines Death’s identity in the age of the incel. Interpellated into the poem, ‘When your engine finally gives out Death pulls up, kicks his / door wide open, says Ride or Die. You choose both. Close up / his face (2/4)
Her critical work includes two monographs, The Feminist Fourth Wave: Affective Temporality (Palgrave Macmillan, 2017) and Queer Troublemakers: Poetics of Flippancy (Bloomsbury, 2019). Her debut novel Bone Horn was published in June 2025 with Cipher Press. (5/5)
August 31, 2025 at 5:42 PM
Her critical work includes two monographs, The Feminist Fourth Wave: Affective Temporality (Palgrave Macmillan, 2017) and Queer Troublemakers: Poetics of Flippancy (Bloomsbury, 2019). Her debut novel Bone Horn was published in June 2025 with Cipher Press. (5/5)
Lecturer in Creative Writing at Royal Holloway, University of London. She is the author of two books of poetry, Retroviral* (Veer, 2018) and {Coteries} (Knives Forks and Spoons Press, 2017), and the co-author of House of Mouse with SJ Fowler (Knives Forks and Spoons Press, 2017). (4/5)
August 31, 2025 at 5:42 PM
Lecturer in Creative Writing at Royal Holloway, University of London. She is the author of two books of poetry, Retroviral* (Veer, 2018) and {Coteries} (Knives Forks and Spoons Press, 2017), and the co-author of House of Mouse with SJ Fowler (Knives Forks and Spoons Press, 2017). (4/5)
palimptext method, Denise Riley’s Time Lived Without Its Flow, Randy Schilt’s And The Band Played On, and The Dead Poet’s Society, to challenge conventional renderings of death, grief, citation, alongside the banality of bodies and their upkeep.
Prudence Bussey-Chamberlain is a Senior (3/5)
Prudence Bussey-Chamberlain is a Senior (3/5)
August 31, 2025 at 5:42 PM
palimptext method, Denise Riley’s Time Lived Without Its Flow, Randy Schilt’s And The Band Played On, and The Dead Poet’s Society, to challenge conventional renderings of death, grief, citation, alongside the banality of bodies and their upkeep.
Prudence Bussey-Chamberlain is a Senior (3/5)
Prudence Bussey-Chamberlain is a Senior (3/5)
with grief, where Death becomes an embodied figure who runs both literally and figuratively through the text. Borrowing from Emily Dickinson’s figure of death in ‘because I could not stop for death’, this collection mixes Wiz Khalifa from Alena Smith’s Apple TV series Dickinson, Waldrop’s (2/5)
August 31, 2025 at 5:42 PM
with grief, where Death becomes an embodied figure who runs both literally and figuratively through the text. Borrowing from Emily Dickinson’s figure of death in ‘because I could not stop for death’, this collection mixes Wiz Khalifa from Alena Smith’s Apple TV series Dickinson, Waldrop’s (2/5)
health, and the convivial practices of writing; ‘aiming for fingers splinterless’, the lyric appears as ‘health without instruments’.
Blurb by @marbledmayhem.bsky.social
Blurb by @marbledmayhem.bsky.social
August 24, 2025 at 5:18 PM
health, and the convivial practices of writing; ‘aiming for fingers splinterless’, the lyric appears as ‘health without instruments’.
Blurb by @marbledmayhem.bsky.social
Blurb by @marbledmayhem.bsky.social
‘wir kommen wir kommen wir kommen’. Combining Spanish, German, and English, the poem ‘se comen la hora’ of its shape echoes the face of a clock, the rays of the sun, and the flower blooming in the heat. ‘[Q]uerida patria me mato las manos’, Haecker writes, entwining concerns around labour, (2/3)
August 24, 2025 at 5:18 PM
‘wir kommen wir kommen wir kommen’. Combining Spanish, German, and English, the poem ‘se comen la hora’ of its shape echoes the face of a clock, the rays of the sun, and the flower blooming in the heat. ‘[Q]uerida patria me mato las manos’, Haecker writes, entwining concerns around labour, (2/3)
‘a thin metal laser-cut flower with engraved design’, ‘a small white armoire glued with shells’, and ‘a bearded ram’s head with neck extending from an ammonite shell’, in other words, an image of ‘shipwreck modernity’.
Blurb by @marbledmayhem.bsky.social
Blurb by @marbledmayhem.bsky.social
August 17, 2025 at 6:01 PM
‘a thin metal laser-cut flower with engraved design’, ‘a small white armoire glued with shells’, and ‘a bearded ram’s head with neck extending from an ammonite shell’, in other words, an image of ‘shipwreck modernity’.
Blurb by @marbledmayhem.bsky.social
Blurb by @marbledmayhem.bsky.social
takes on water and tilts to one side’. This tilting, careening, heeling, or inclining to one side occurs as the question is answered and repeated between ‘08:52am, 5 June 2024’ and ‘11:57 5 June 2024’. We find ‘the apparitions of the miraculous medal’, ‘Aleppo soap’, (2/3)
August 17, 2025 at 6:01 PM
takes on water and tilts to one side’. This tilting, careening, heeling, or inclining to one side occurs as the question is answered and repeated between ‘08:52am, 5 June 2024’ and ‘11:57 5 June 2024’. We find ‘the apparitions of the miraculous medal’, ‘Aleppo soap’, (2/3)
himself, he ceased to be what he was expressing, and instead became free of it, became just a body, without any thoughts trapped inside of it’. (8/8)
Blurb by @marbledmayhem
Blurb by @marbledmayhem
August 10, 2025 at 8:27 PM
himself, he ceased to be what he was expressing, and instead became free of it, became just a body, without any thoughts trapped inside of it’. (8/8)
Blurb by @marbledmayhem
Blurb by @marbledmayhem
wrought things that could be expressed as objects; words spewing out of him onto pages to purge himself of thoughts, and in turn become something entirely other than what he thought to start with. This was part of the problem, or else, this was his salvation; that in expressing (7/8)
August 10, 2025 at 8:27 PM
wrought things that could be expressed as objects; words spewing out of him onto pages to purge himself of thoughts, and in turn become something entirely other than what he thought to start with. This was part of the problem, or else, this was his salvation; that in expressing (7/8)
Between such proliferated surfaces,Joseph writes, ‘until the nibbled edges of his fingers began to bleed. He remembered thinking that even if nobody would ever read it, he wouldn’t stop. That it was the only way for him to exist; thinking about things over and over again until they were finely (6/8)
August 10, 2025 at 8:27 PM
Between such proliferated surfaces,Joseph writes, ‘until the nibbled edges of his fingers began to bleed. He remembered thinking that even if nobody would ever read it, he wouldn’t stop. That it was the only way for him to exist; thinking about things over and over again until they were finely (6/8)
reality, ‘Picture of Gray (1922), Henry Scott Tuke’ introduces us to the skin of queer desire, longing, crisis, and love. Much like the words of Susan Howe’s ‘Spontaneous Particulars’, here screens are the ‘meteors, mimetic spirit-sparks […] taken at hazard from piled up cultural treasures’. (5/8)
August 10, 2025 at 8:27 PM
reality, ‘Picture of Gray (1922), Henry Scott Tuke’ introduces us to the skin of queer desire, longing, crisis, and love. Much like the words of Susan Howe’s ‘Spontaneous Particulars’, here screens are the ‘meteors, mimetic spirit-sparks […] taken at hazard from piled up cultural treasures’. (5/8)
virtue of its existence, or lack thereof, being called forth and dismissed again and again by observation and description’. Meditating on the TV screen, the black mirror of our phones, social media, dating and hookup apps, and the repetition of bodies through the relative social immersion of (4/8)
August 10, 2025 at 8:27 PM
virtue of its existence, or lack thereof, being called forth and dismissed again and again by observation and description’. Meditating on the TV screen, the black mirror of our phones, social media, dating and hookup apps, and the repetition of bodies through the relative social immersion of (4/8)
Howse writes, ‘where the impermanence of a body was mirrored by the impermanence of the understanding of a body. All things hold back into nothingness there, only to reveal themselves again in infinite reiterations, each one the same while at the same time being different purely through (3/8)
August 10, 2025 at 8:27 PM
Howse writes, ‘where the impermanence of a body was mirrored by the impermanence of the understanding of a body. All things hold back into nothingness there, only to reveal themselves again in infinite reiterations, each one the same while at the same time being different purely through (3/8)