radical honesty: ‘I’ll keep saying that love is the law, keep on / flitting about, flirting with dirtbags & friends, / keep on at this thing called ‘earnestness’, / I do believe that would be a good life’. (5/5). Blurb by @MarbledMayhem.

joy, desire, genderqueerness, and the configurations our bodies take on are all a praxis which, as Lovell writes: ‘Takes practice / which makes a perfect circle’. In the pursuit of love, of the self and the other Lovell concludes with hope and the resolute commitment to (4/5).

around the same five quid for poems / & bread & our remembered awkwardness’. In these poems comes the expansive, and communal solidarity amongst poets as precariously employed workers, collectively ‘doing […] busy work with debt & a cruel streak’. In these poems, love, (3/5).

around to anxieties around ‘sociality’’, ‘gender configuration’, and ‘the disparate joys of a decade spent exhausted’ is Lovell at their most effervescent. ‘I’m laughing & lying again’, they write, ‘not about joy / but that it wouldn’t work, to live together / sharing (2/5).

This week, Osmosis is ‘loitering / amid hyacinths and trying to remember / the movements of desire that terrified me’ in the poems ‘Cankerblossom’ and ‘Notes for a Lecture’ by Luce Lovell. In these poems about ‘market integration for this body politique, / circling back (1/5)

sublimation of selves’ through the act of translation. ‘Be it an oeuvre, or a single stanza on a wall, Translator and Translated become forever unified in [the] lingua-consciousness’ of the poem. (4/4). Blurb by @marbledMayhem.

markings as a text, reimagining how they might be 'translated'. Gazing ‘through the fog to find a Brocken spectre’, Sutton’s poem invokes the prehistoric human into the role of ‘The Translated, whether living, dead (or extinct)’ as they are ‘sucked into this loving (3/4).

having been painted by Neanderthals some 65,000 years ago during the Middle Palaeolithic, or the middle part of the Stone Age, drawing on the walls and maintaining their tools inside. Drawing on recent research into Neanderthal behaviour, Sutton approaches these ancient (2/4).

This week, Osmosis is enthralled by the cave markings within the Cueva de Ardales, Spain in Michael Sutton’s poem Fragments from the Oath of Cave Ardales. Inside, more than 1,000 engravings and red paintings dot its walls, ceilings, ground rocks, and other natural features (1/4)

scripto-visual piece carries us ‘across the / uneven ranges’ of the protagonist’s ecological, emotional, and urban landscape. Blurb by @MarbledMayhem.

stand-alone episode from Hobbs’ larger novel manuscript. As readers we ‘wend dangerously up the gravel’ as the bike ‘wheezes and squeaks contentedly along’ along the vibrant and immersive pathways of language. Playing with colour, typeface, size, and space on the page, this (2/3).

This week Osmosis is riding ‘the old white bike our from the shed’ alongside this week’s protagonist in The Hermit Woman Bikes and Her Visitation by Catherine Hobbs. As a piece of fiction that plays with visual poetry techniques, this week’s featured writing piece is a (1/3)

waters. 5 YAHWEH called lights Waking Period; YAHWEH called opaque waters Nights’. Inside the first chapter of Genesis, Hills lifts a poem which marks the entirety of a ‘single cosmic period’. (3/3). Blurb by @marbledmayhem.

strikingly Oulipian constraint. Hill’s poem foregrounds the transfiguration of water into night, and light into day; upon its creation, the ‘[p]lanet missed having formal format; entire planet shaded inside opaque waters’ and thus ‘YAHWEH placed lights amidst opaque (2/3).

This week, Osmosis is witnessing the ‘origin moment’ of the universe, which ‘forged heaven beside little planet sphere’ in the poem ORIGIN: Yahweh Forges Entire Cosmos by Greg Hill. This work rewrites Chapter One of the Book of Genesis using only six-letter words, in a (1/3)