EQUUS PRESS (2025)

10/10/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

30. Ansgar Allen, JONATHAN MARTIN (2025)

JONATHAN MARTIN (forthcoming 1 Nov 2025) presents itself less as a “life novel” than as a necromantic reanimation of biography as ruin, disjunction, and haunted fragment. “On 27 May 1838, Jonathan Martin lay down and died … That evening, another lunatic would take his place, and the room in which he lived would be occupied by another man’s thoughts.”

This opening gesture already signals a necromodernist logic of succession, recurrence, and the absorption of subjectivity into haunted space. Allen does not begin with origin or ascent; he begins with death, as implosion rather than birth, insisting that a life as biography is always parasitic upon its own ending.
The novel is structured in fragments — archival scraps, trial documents, self-published pamphlet inserts, delirious registers — weaving together dream, ecclesiastical fury, and claustrophobic psychosis. Allen describes the book as “an act of negation … it tells us what literature is by telling us what it is not … it does not start with Jonathan’s birth … mentions it as an aside.” This refusal of teleology, this negative theology of biography, is quintessentially necromodern: identity survives (if it survives) not by coherence but by decomposition, margin, and interruption.

Within the Equus necromodernist canon, Jonathan Martin marks a bold pivot: it is no longer city-archive or glitch event, but biographical necropolis. The life of Jonathan—prophet, arsonist, inmate—is neither fully recoverable nor fully imagined: Allen treats historical source as spectral matter, medium to be excavated rather than exhumed. He rewrites the conventions of historical fiction, pushing biography toward ruin, exposing the hollowness of coherence and claiming the haunted residue of a life lived on the margins of reason and order.

To be launched at this year's PMF Prague Microfestival on Nov 1.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/jonathan-martin/

09/10/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

29. Louis Armand, A TOMB IN H-SECTION (2025)

A Tomb in H-Section inhabits the architecture of death itself. Set in and underneath the Josefov ghetto, the novel literalises necromodernism by making its ruins the stage for both spectacle and burial. Its proscenium is hauntological: the ghetto becomes a constructed set of memory, horror, and insurance cataloguing. The text orchestrates a grotesque pageant in which history recirculates as theatre — the past is not overwritten, but performed ad infinitum.

The novel invests deeply in systems of registration, inventory, and archiving. The subterranean labyrinths and Processing Plant beneath the detached fragment of Golemgrad are not only infrastructural sites but necro-archives—accounts of bodies, wires, crevices, shadows, and data. “Bet you didn’t know there’s a detachable piece of Ol’ Golemgrad smackbang in Hamburg Bay … that’s where the Processing Plant is … G.O.D. in his countinghouse … keeping the ledgers in good order” becomes a revelation that ruin is itself a logbook. The body lies wired on a slab, awaiting its transformation: here death is not the end but a coded interface.

Ghost-creatures, bubble-people, dissolving sunspots, rodent animism — the novel’s spectral cast dramatizes the collapse of human into trace, living into memory. “As Němec watched … bubble-people dissolved to sunspots … drifting & dissolving, dissolving & drifting” becomes not literary ornament but necromodern kinetics — where dissolution is the primary mode of existence. In A Tomb in H-Section, Armand doesn’t simply catalogue ruins; he choreographs them. The novel resurrects the co**se of literature not by negating its decay, but by staging it, choreographing its collapse into a recurring, haunted archive.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/a-tomb-in-h-section/

08/10/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

28. Louis Armand, THE COMBINATIONS (2016; 4th ed. 2024)

In The Combinations, Armand stages Prague not as backdrop but as a ruinous crucible of recursive texts. The novel’s chessboard structure (8 octaves, 64 chapters, 888 pages) literalizes necromodern time: each move is haunted by prior moves, every chapter a recursive echo in the city’s palimpsestic archive. The world is a combinatorial engine where the past is never past but always reactivated. As a reviewer notes with characteristic slyness: “Perhaps … when you stare long enough a crack in the wall is just a mirror.” That mirror reflects not identity but the spectral overlay of textual history—one crack among many in a city that is its own necropolis of memory.

Armand’s prose perpetually collapses the distinction between the animate and inanimate. Prague’s streets, buildings, monuments, even chessboard symbols become haunted by their own inscriptions. The novel often treats celluloid, silhouette, and ruin as interchangeable media of decay: “The city’s thousand-and-one fascinating tales” are retold not to reconstruct history but to scatter it. In this mode, reading becomes excavation: the text is not destroyed by its own excess—it is resurrected through it.
Within Equus Press’s necromodernist poetics, The Combinations is foundational: a city-archive that’s both labyrinth and tomb, where narrative is a ghostly combinatorial protocol. Nothing is transparent; every gesture is layered with spectral weight. It resets the terms by which we think of future, history, and text—not as linear progress, but as recursive survival through ruins.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/the-combinations-4th-corrected-edition/

07/10/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

27. Louis Armand, ANIZAR (2024)

ANIZAR unfolds as one of the clearest late articulations of Equus Press’s necromodernist poetics — a mode defined by recursion, glitch, and historical compost. The novel opens in a sun-bleached Alentejo, where “history, too, may be a dream, but we are not the dreamer.” It stages existence as theatre: a crumbling proscenium in which thought, language, and flesh perform their own decrepitude.

Armand’s protagonist, Albufarkas — “last of a long line of deadletters that turn up after the postal system’s been abolished” — becomes a necromodernist archetype: a revenant of obsolete systems, half-alive among the ruins of meaning. A key passage encapsulates this poetics of exhausted recursion:

“You die & the image of something dies w/ you. From now on just a settling of dust, the sifting of pixel-decay, slow data-rot, mildew on the motherboard… skeletons gradually unfleshed on the holodeck.”

Here, Armand fuses the medieval and the digital, the Gothic and the algorithmic: human decay expressed through the lexicon of obsolescent computation. The result is a syntax of entropic consciousness, where self and system decay at the same rate — a linguistic compost heap of “entropy and effluent.” Albufarkas’ dialogue with his alter ego, Antifarkas, literalises the necromodernist split between self and shadow, thought and its automated echo.

ANIZAR extends the poetics of Vampyr/Glitchhead and A Tomb in H-Section into a Southern European allegory: an archaeological fever-dream of empire, simulation, and entropy. As the narrator muses, “We live – oh we say we live, but heaven help us! – in a tide of vexatious effluent… we’re in the toiletcleaner, it’s drinking us!” This grotesque humour — both scatological and metaphysical — marks Armand’s writing as a literature of aftermath, where history survives only as data noise, waste, and parody.

In the necromodernist constellation, ANIZAR is the post-Cartesian counter-novel: a book conscious of its own decay, of “the room you could imagine walking into in a novel without a plot.” It reads like a transcript from civilization’s memory leak — one that insists, perversely, on continuing to write.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/anizar/

06/10/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

26. Louis Armand, VAMPYR/GLITCHHEAD (2023)

“The contagion has passed beyond the mere increase of an illness & become the illness. Its vector is that of History itself.”
Vampyr / Glitchhead emerges as a fulcrum in the Equus Press project: here, necromodernist poetics are made manifest in the collision between vampiric recursion and linguistic collapse. In Vampyr, Armand turns the novel into a parasitic architecture: its monsters are not external invaders but the clichés, images, and media detritus that haunt the text itself. The vampyr is less a creature of myth than a figure of inscription: culture vampirising itself, recycling its own remains under the sign of heartbreak, capital, and the spectacle of decay. The contagion is linguistic, structural — "the contagion has passed beyond the mere increase of an illness & become the illness" — turning history, images, and narrative into vectors of infection.

Then Glitchhead takes over the machinery of infection and embeds it in the interface: a convulsive, disintegrated prose that turns narrative into seizures, content into glitch, hope into code-virus. Here the novel becomes a diagnosis: “The end of writing is the end of history,” yet it does not end — it hiccups, loops, fractures, chaotically persists. Glitch is not failure to be overcome, but the condition of survival itself in a literaturescape that no longer has room for renewal or redemptive teleology.

In the Equus constellation of necromodern authors — Louis Armand, Mike Corrao, Ansgar Allen — Vampyr / Glitchhead stands as a decisive gesture: literature refusing closure, refusing transcendence, persisting only through decomposition and recursive reanimation.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/vampyr-glitchhead/

03/10/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

25. R.G. Vasicek & Zak Ferguson, 404_ERROR: MEMOIR OF A NOBODY (2022)

404_ERROR: MEMOIR OF A NOBODY bills itself as an “anti-memoir,” a compact, glitch-inflected experiment in identity, error, and technological consciousness. The narrative follows Darius[z], a figure caught between two overlapping realities: one of the “meatspace” (the urban, corporeal world) and one of wetware, the digital substrate, where his selfhood unspools. The text collapses the boundary between internal and external, memory and data, rendering subjectivity as something always mediated by machinery, malfunction, and code.

What makes 404_ERROR a fascinating literary experiment is how it merges comedic disjunction, horror, and meta-commentary with the architecture of error. The novel treats the 404 error not just as a digital glitch but as a metaphoric self, a presence that haunts every access point, every reflection, every system breakdown. According to a reviewer, it “shifts between comedy and horror, commentary and meta-commentary, wetware and meatspace,” pushing the reader to sense the instability underlying our presumed “realities.” The book is also advertised as machine-made, a “pocket machine that requires no batteries,” signalling its ambition to become both content and medium.

In the Equus Press constellation, 404_ERROR aligns with glitch aesthetics: texts that do not seek stability but live in error, in fragmentation, and in the collapse of the archival toehold. It is anti-memoir not because it negates memory, but because it refuses the consolations of continuous selfhood. Memory is not linear; biography is not coherent; identity is threaded through ruptures, resets, and digital ghosts. In so doing, 404_ERROR dissolves the boundary between subject and machine, between archive and malfunction, offering a luminous, unsettling reflection on what it means to be “nobody” in a world built on signals, failures, and phantom codes.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/404_error-memoir-of-a-nobody/

02/10/2025

24. Harold Jaffe, PERFORMANCES FOR THE END OF TIME (2022)

A fragmented, performative collection of texts, PERFORMANCES FOR THE END OF TIME pivots around endings — existential, cultural, personal — and stages them as both elegy and indictment. The volume comprises a series of short “performances” (some repeated, variably reworked) culminating in a meta-dramatic Faust & Mephisto piece. Jaffe frames these texts as “performances of the heart-mind,” oscillating between poetic prose, quasi-dramatic voice, and cryptic manifestos.

The work’s experiment lies in its delicate balance of repetition and variation: titles recur (e.g. “Cut,” “Justice,” “Gloryhole,” “Shroud”) yet each iteration shifts inflection, tone, and implication. Through this echo-chamber strategy, Jaffe probes how meaning is unstable, how language is haunted by its own residues, and how performance can unbind the conventional constraints of narrative temporality. The final dramatic piece does more than conclude: it reorientates, turning the collection’s elegiac tone into a prophetic coda that implicates humankind itself, suggesting that if we are to survive, we must become “other than human.”

PERFORMANCES FOR THE END OF TIME is a paradigmatic example of Equus Press poetics: a text that doesn’t simply lament endings but makes the endings audible, revisible, and performative. Rather than presenting doom as external, Jaffe’s work internalises it: the collapse is already in us, in language, in memory. By refusing teleology and embracing repetition, variation, and rhetorical rupture,PERFORMANCES insists that endings are not final but ongoing: that we live in the residue, the echo, the performance that does not quite finish.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/performances-for-the-end-of-time/

01/10/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

23. Richard Makin, WORK (2022)

WORK is a vast, fragmentary novel of over 400 pages that rejects conventional narrative anchors—no stable protagonist, no straightforward plotline, no reassuring teleology. Instead it disperses itself across multiple registers: speculative cosmologies, theme-lobs, dream logic, encyclopedic detours, mythic allusions, and occasional epistolary fragments. It veers across genres—science fiction, confessional lyricism, occult allegory—yet never fully belongs to any. The effect is disorienting but immersive: the reader is forced into a drifting, associative mode, attending closely to texture, tone, resonance, and internal disjuncture rather than causality.

Makin’s method is one of textual artefact and anti-persona: writing not from the “I who knows” but from a “collective shroud of voices,” resisting the conventional authorial presence. Reviews speak of his “textual artefacts & artefactual writing practice” and a refusal of the authorial self in favor of a “martyrised self-subversion.” He mobilizes numerical procedures, pneumatic parataxis, and visual layout as compositional constraints, inviting chance and accident rather than premeditated meaning. The work’s language is richly allusive but opaque: sentences “pull you in with black‐hole gravitas. Subversion lurks in every subordinate clause.”

What makes WORK a significant experiment in the Equus Press context is how it refuses the archive, biography, and conventional coherence as stabilising forms. In WORK, the archive is partial, ghosted, gestural. Memory is not linear but a palimpsest of traces. The authorial “voice” is dispersed rather than centered. In doing so, Makin positions WORK as an anti-novel: a sprawling mesh of fragments that resists closure and instead magnifies residual meaning, the haunting of absence, the ruptures in perception. It models a poetics of disintegration, where the reader’s labour becomes the site at which meaning flickers and fails—and sometimes, briefly, coheres.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/work/

30/09/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

22. Ryan Madej, ASSASSIN (2022)

ASSASSIN by Ryan Madej is an experimental novella woven from esoteric strands, speculative mysticism, and fractured temporality. Set in a decayed city, it follows a woman wielding a weapon capable of erasing victims from time, a man seeking a lost manuscript for power, and an acolyte in an untouched paradise torn between enlightenment and destruction. Their paths, though separated across lifetimes and cosmologies, converge into a perilous reckoning.

What makes ASSASSIN compelling as a literary experiment is how it treats text as both material and metaphysical object. The narrative is saturated with references to John Dee, Manly P. Hall, sacred geometry, numerology, Buddhism, and other occult traditions—these are not mere allusions, but structural vectors through which the characters and the reader are pulled into the labyrinth of meaning. The novella plays with erasure (of victims, of time), with bricolage (multiple mystical systems overlapping), and with the paradox of reading as violence: to know is to risk annihilation.

In the context of Equus Press’s poetics, ASSASSIN stands as a boundary-crusher. It neither submits to genre (thriller, fantasy, occult) nor to conventional chronology or coherence. Instead it demands from the reader a participation in its maze, a willingness to move across fragmented cosmologies and to reckon with text’s power to kill even as it preserves. It offers not resolution, but a haunted and rhythmic dance on the edge of erasure.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/assassin/

29/09/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

21. Ansgar Allen, PLAGUE THEATRE (2022)

PLAGUE THEATRE is set in early 18th-century Scarborough and traces a contagion that is as much moral, psychological, and social as it is biological. Right from the start Allen signals that the "plague" here is already present in society — the virus is secondary. The work engages deeply with Antonin Artaud’s “Theatre and the Plague”, especially his notion that both theatre and plague externalize a latent cruelty in the collective psyche. Allen unfolds his narrative through fragments, reportage, and an atmosphere of creeping disintegration, so that the lines between historical account, theatrical staging, and allegory dissolve.

What makes PLAGUE THEATRE particularly interesting is its archival strategy: it treats the manuscript not as a fixed object, but as contagion, a text whose value is not accumulation but corrosion. Allen deliberately destabilises our trust in narrative authority. The text becomes a stage for institutional collapse, intellectual anxiety, and the breakdown of sense. The effect is to force readers into a position of instability: one cannot simply "read" the novel in the old way, but must negotiate with its ruins, contradictions, absences.

In this sense, PLAGUE THEATRE is a literary experiment in failure and exposure. It refuses comfort, clarity, or containment; instead it exposes the underside of knowledge and institutions by making them tremble and disintegrate. By turning the archive into theatre, the disease into a script, and cruelty into revelation, Allen offers a work that is not merely about decay, but forever enacted through its form.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/plague-theatre/

26/09/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

20. Michael John Rowland, INFINITY IN BITS (2021)

“It would be remiss of a psychologist helping you to interpret a dream were they to simply tell you what the dream meant. Just as with the Tarot. A good reader will indicate to the querent the meanings of the symbols available and the links cards may form with each other, leaving it up to the querent to decide what this means to them.”

INFINITY IN BITS by Michael John Rowland is a hybrid feast: at once visual art, poetry, revelation, collage, and Tarot-guide. Over 270 pages, Rowland assembles the fragments of an “infinity of sources,” interlocked through the structure and archetypes of the 78 cards of the Tarot.

The book invites confusion, resonance, and overwhelm: not in order to frustrate the reader, but to activate them. Sections can be read chronologically, or shuffled like cards—Major Arcana, Court, Pip—as stories, as abstraction, as visions. The urban and mystic, the pop-culture trace and the arcane tradition, meet in an aesthetic vortex where the commonplace (Tesco, city-streets) breaks open the esoteric symbolic field.

Stylistically, INFINITY IN BITS resists conventional genre. It entangles image and text, poetry and epigram, revelation and fragment. Expect “bits”—snatches of voice, colour, symbol—that flare up, then dissolve. The Tarot is both structure and metaphor: a system of archetypes allowing for radical rearrangement; the reader becomes querent, the book becomes a deck. It is experimental in the way it insists that meaning is not delivered but co-created.

In Equus Press’s poetics—writing that is marginal, formally restless, cosmopolitan—INFINITY IN BITS stands out as a manifesto of collage-mysticism, of form-as-ritual. It doesn’t simply explore the Tarot; it uses it as a language, as a scaffold and terrain, to articulate the fractured self, the everyday haunted by myth, the urban and the occult in impure, vivid dialectic.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/infinity-in-bits-2/

25/09/2025

EQUUS PRESS SEPTEMBER RETROSPECTIVE

19. Mike Corrao, DESERT TILES (2021)

“Read this geometry in such a way as to allow the text unit increment itself to be unbounded, allowing for fragments of itself to be discorporated in such a way as to interlock — in voxelized gradient — with vacancies identical to those fragments excised from the primary corpus of the text unit itself in such a way as to be both of itself and containing another, like a splinter of bone healing into liver tissue.”

Mike Corrao’s DESERT TILES is a daring meditation on absence, agency, and the text-as-landscape. More than just prose, the work becomes architecture: a terrain you inhabit, lose your bearings in, and must traverse. In Corrao’s hands, the page is both desert and mirror — a place emptied of a stable voice, yet always trembling with potential, beckoning the reader into its sand-dune scripts, its visual glitches, its textual mirages.

At the heart of DESERT TILES are its twin metaphors: text as desert and reading as necromancy. The desert is literal and figurative: structural voids, “dune-script” that shifts meaning under the reader’s foot, landscapes deserted of certitude. Necromancy isn’t just gothic flourish; it’s the mode by which the reader summons the voice of the absent author, revives dead fragments of language, and reanimates meaning in the interstices — past, present, and future.

Stylistically, DESERT TILES challenges easy reading. Corrao plays with legibility, layout, pacing: some sections sparse, some densely textured; some almost visual, others more abstract murmurs. The reader’s journey is governed not by plot so much as by duration, by a tilting perceptual field. As the interview with Equus Press describes, Corrao designs the text to manipulate how long it takes to move through it, to make the act of reading itself into something uncanny, immersive, even unsettling.

Within Equus Press’s poetics — experimental, translocal, focused on the edges of language, medium, and perception — DESERT TILES stands out as both continuation and escalation. It doesn’t just reflect the “text-/image coming alive” motif in Corrao’s earlier works — it redefines it in terms of spatiality, materiality, reader agency.

For more information & ordering details, please visit:
https://equuspress.wordpress.com/desert-tiles/

EQUUS PRESS

10/10/2025

09/10/2025

08/10/2025

07/10/2025

06/10/2025

03/10/2025

02/10/2025

01/10/2025

30/09/2025

29/09/2025

26/09/2025

25/09/2025

Address

Website

Alerts

Contact The Business

Shortcuts

Share