Bruno Neiva, Table of Contents I


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The last release from Timglaset 2018 is a conceptual work by Portuguese text artist Bruno Neiva. Table of Contents I is the first part of a series of indexes to unwritten books on social constructs. The first one is devoted to the notion of “gender”.

Table of Contents is not meant to be a critique of the concept of “social construct”, but rather a series of lexical operations that depict the arbitrariness of language on digital media.

Table of Contents I has been produced to look uncannily like a uni handout. It has been sloppily printed and stapled in the corner, rubber stamped DUBBLETT (Swedish for “duplicate”) in red and comes in a brown cover sheet which is held by a paper clip. 12 pages + cover sheet, size 140 x 195 mm (inlay), 5 eur + shipping.


Bruno Neiva, Table of Contents I (international)

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Bruno Neiva, Table of Contents I (inom Sverige)

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59.00 Skr

David Kjellin, Latent Possibilities

David Kjellin: What is latent in the rational discourse of science? The scholarly article, with its highly standardised composition, is a pragmatic genre: the focus is on the message and to facilitate the reviewing by other researchers.

By blacking out the words and charts, and thus the semantic content of the pages, it became possible for me to look for and discover new patterns. The patterns highlight that which is felt, but not always seen (spaces, paragraphing, indention, punctuation). At the same time the patterns emerge fresh, with properties entirely their own.

This is not a reinterpretation nor a destruction of meaning, but rather a translation of the form and structure of the text. The birth of a new alphabet. A new text. A teeming city.

Latent Possibilities is David Kjellin’s first chapbook. He has self-published an e-book, 103 Translations, and his work has been published in Otoliths, Brave New Word Magazine and Timglaset zine. He’s a poet, mountaineer and librarian and he lives in Gothenburg, Sweden and online at

David Kjellin, Latent Possibilities, 16 pages, digital print, 203 x 138 mm, handsewn with waxed linen thread, 50 SEK + postage.

David Kjellin, Latent Possibilities (international delivery)

Includes international postage


David Kjellin, Latent Possibilities (inom Sverige)

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49.00 Skr

Amanda Earl, Revelation


Revelation is the seventh book to come out of Amanda Earl‘s (Ottawa, Ontario, Canada) lifelong project, The Vispo Bible, translating the Bible to visual poetry. This book contains 22 visual pieces, each representing one chapter of The Book of Revelation, New Testament. The Vispo Bible is part of Amanda‘s general poetic practice of chance operations from the Dadaists and Jackson MacLow’s Light poems, cutting up, reshuffling, remixing existing sources – words, phrases, lyrics, titles, objects, geographical and psychological landscapes – to unlock fixed propaganda and repurpose it.

Amanda has grapheme synaesthesia where numbers, people’s first names, names of the month and week, and pain have colours. The cover of Revelation is bright orange and inside there is an explosion of colour, corresponding to the colours Amanda has assigned to words and phrases in the the text of The Book of Revelation. This book is in A4 format (297 x 210 mm), 28 pages and is printed in full colour on heavy high quality paper. The cover is in orange cardboard and hand-labelled with title an author name. The inlay is saddle stitched and the cover is rubber band bound. 60 copies were made. CAD 18, EUR 12, SEK 130. Postage costs will be added.


Amanda Earl, Revelation (international)

Includes worldwide postage.



Amanda Earl, Revelation (inom Sverige)

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174.00 Skr

mwpm, tm

tm by mwpm is, as can be expected, a meditation on the letters t and m, however not necessarily a meditation of the transcendental kind. In mwpm’s own words:

these two letters have two distinctive connotations to me:

”mt” sounds like ”empty”
I have attempted to represent emptiness by rendering the letters as
bordered rather than filled.

”tm” stands for ”trademark”
I have attempted to represent the implications of trademark by means of proliferation and arrangement, as if by mechanical  reproduction.

combining these letters means exploring their aesthetic qualities and potentials, how they compliment and contrast.
combining these connotations means confronting the emptiness of capitalism and consumer culture.

tm was written in Waterloo, Ontario by mwpm, printed in Rostock, Germany by psw on her 1960s Gestetner mimeograph, folded, stapled and cut in Malmö, Sweden by Joakim Norling and is numbered can-swe 4-0. It was printed on uncoated Werkdruckpapier, 120 gsm and has 12 pages, sized 15 x 15 cm. 48 copies were made and Timglaset confront capitalism and consumer culture by asking just 3 EUR for it (+ something for the post office).


Get a free pdf of tm here!


Catherine Vidler, Lost Sonnets



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Catherine Vidler’s Lost Sonnets is a book of stunning verbivocovisual imagination. In this, the complete series of 155 poems, she takes the famous 14 lines as starting point for an evolving experiment with the sonnet as form. Starting with the rawness of arrows pointing in the usual reading direction, and gradually adding elements and increasing complexity, she arrives at visual sonnets as beautiful and rich as anything the form has produced during its long history.

By publishing the whole series, Timglaset wants to highlight the importance of the process itself. Those early sonnets may be simpler but are nevertheless fully formed poems, not drafts or sketches.

Says Tom JenksVidler’s beautifully oblique, diagrammatic pieces remind
us that poetry has always been a numbers game. Lost Sonnets is like walking
through a forest of winter trees on a clear, moonless night. Up above
there are no clouds, only comets and constellations.

And Derek BeaulieuLost Sonnets confidently places Vidler’s writing next
to Shakespearean, Petrarchan and Spenserian forms; here metrics and
rhyme look beyond language into a visual form ranging across the map of
potentiality. Soon we will all be writing Vidlerian sonnets.

Catherine Vidler lives in Sydney, Australia. Her recent publications include composite lost sonnets (SOd press, 2018), lost sonnets (Spacecraft Press, 2018), table sets (no press, 2017), lake labyl and table set poems (Penteract Press, 2017), table set poems (Spacecraft Press, 2017), lake labyl and chaingrass errata slips (SOd press, 2017), and chaingrass (zimZalla Object 039, 2016). The first series of her composite lost sonnets 78 composite lost sonnets is forthcoming in October 2018 from Hesterglock Prote(s)xt.

Catherine Vidler, Lost Sonnets, 168 pages, full colour digital print, 15 X 15 cm, wire-o binding, with comments by the author. 50 copies were made. 22 Eur + shipping. Comes with a free mini-accordion, Selected Stars, an hommage to Catherine Vidler’s Twitter account, The Asterisk Machine (@usefulstars).


Dona Mayoora, Listening To Red

Timglaset Editions proudly present a collection of 30 stunning pieces from Dona Mayoora‘s Listening To Red-sequence, which explores metaphors beyond the use of words. She describes her work as a combination of art, poetry, visual metaphors – and politics, in terms of listening and being aware of what’s happening around the world and responding to the disarrays, injustices and chaos. Her work is asemic in the sense that it is open for the reader to fill in and interpret the content.

Terri Witek: “This poetic work elegantly and powerfully dismisses the notion of the literal to show how vividly things speak no matter who listens.”

Nico Vassilakis: “Dona Mayoora’s talent lies in her use of an Asemic cursive hand and smart balanced construction. Each piece is a visual slant rhyme, is a building waiting for its viewer to inhabit it.”

Donmay AKA Dona Mayoora is an interdisciplinary artist, bilingual poet, author, inkophile and techie born in Kerala, India and residing in Connecticut, USA. Her first poetry collection in Malayalam was published in 2012, her second one is forthcoming. Her poetry and art works have been published in various international journals and her asemic work has been exhibited in Italy (2016, 2018), Spain (2017) and on Asemic Women Writers Online Exhibit (2018). You can find her on Instagram.

Listening To Red, 38 pages, high quality full colour print on 250 gsm paper, size 297 x 210 mm (A4 landscape), handbound with red cotton yarn. With an extensive introduction by Karl Kempton, 99 copies, $12 + postage & packaging OR pay $20 + postage & packaging and $10 will go straight to Kerala disaster relief. See Dona Mayoora’s statement below and payment options at the bottom of this page.

Dona Mayoora, Listening To Red, International

Including international postage


Dona Mayoora, Listening To Red, Sverige

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174.00 Skr

Kerala disaster relief, statement from Dona Mayoora:
Kerala is in the aftermath of an unprecedented flood havoc from August 2018. A state of emergency was declared. The calamity has caused immeasurable misery and devastation. Hundreds of lives were lost. Thousands of homes were totally destroyed and many more were damaged, Kerala have braved the odds. Civil communities are joining hand with Kerala State Government, to make a difference in Flood Relief, rehabilitation and rebuilding efforts. $10 of the below “disaster relief price for Listening to Red will go straight to the Government of Kerala Chief Minister’s Distress Relief Fund.

Dona Mayoora, Listening To Red with Disaster Relief

$10 go directly to Kerala Disaster Relief Fund. Price includes postage & packaging.


Luke Bradford, Four Paths


Four Paths by Luke Bradford is a chapbook of visual poetry which will appeal to both poetry lovers and puzzle solvers. It packs four sentences into rectangular mazes. In addition to remaining reasonably legible, the mazes obey various constraints: each is identical in size to the others, has an unobstructed path from the top left to the bottom right, has no passages other than those that form its letters, and has no inaccessible areas.

Luke Bradford is an experimental poet living in Cambridge, Massachusetts. His debut collection of constrained poetry, Abacus, is available as a free PDF or for purchase as a book at, and his work has been published by
Spacecraft Press and Penteract Press.

Luke Bradford, Four Paths, 8 pages, 135 x 90 mm, black digital print on heavy light blue stock, stapled. 50 copies were made. 30 SEK, 3 Eur, $3.


Luke Bradford, Four Paths, SECOND EDITION. 8 pages, 135 x 90 mm, black digital print om heavy vanilla stock, stapled. 20 copies were made. 30 SEK, 3 Eur, $3.


Download a free pdf of Four Paths here!