Just over a week to submit to the seventh issue of Permeable Barrier! This latest issue is guest edited by our very own @brihughespoet.bsky.social!

Next week, join Tamsyn Challenger as she celebrates the publication of Him Hymn at the Hungarian Art Gallery, University of Glasgow. The event is kindly supported by the University of Glasgow's Creative Writing Programme and organized by the wonderful Colin Herd!

ANNOUNCING SOME GOOD NEWS

SPOTTED: copies of Him Hymn in the wild at @burleyfisher.bsky.social

Did you miss The Living Library? We’ve got you covered! I’m excited to share the video and audio documentation of our @beinghumanfest.bsky.social pop-up exhibition at the Landmark Arts Centre, curated by @royalholloway.bsky.social researchers 🍃🦇⛅️🐝 www.youtube.com/watch?v=w3PH...

i love the title 😍

What an incredible evening celebrating the launch of Grief is the Thing in Pleather by Prudence Bussey-Chamberlain at the iconic Housmans 🖤

This is not a drill! ‘Grief is the Thing in Pleather’ by Prudence Bussey-Chamberlain is RELEASED today! A limited edition of 100 copies 🪰🪰🪰 osmosispress.com/grief-is-the...

We are overjoyed to welcome Tamsyn Challenger’s tender, unflinching, and urgent Him Hymn into the world today! This publication is Challenger’s debut book of poetry, written with an incredible commitment to an intimate and luminous lyric I💙

We have a handful of additional review copies for Him Hymn and Grief is the Thing in Pleather! Drop our editor @brihughespoet.bsky.social a message if you’re interested in reviewing!💙🖤

✨LAUNCH EVENT ANNOUNCEMENT✨ We are delighted to be launching Prudence Bussey-Chamberlain’s ‘Grief is a Thing in Pleather’ at @housmansbookshop.bsky.social as part of the Housman’s Poetry Series on the 26th of November at 7pm! This collection is a consideration of/ writing through what it (1/4)

PREORDER ALERT 🚨🚨🚨 IT FEELS SO GOOD TO BE BACK! This month, Tamsyn Challenger’s ‘Him Hymn’ and Prudence Bussey-Chamberlain’s ‘Grief is the Thing in Pleather’ will be released on 25th and 26th respectively🖤

This week Osmosis is so excited to be featuring an extract from the forthcoming collection 'Grief is a Thing in Pleather' by Prudence Bussey-Chamberlain! Writing back to Emily Dickinson’s figure of death in ‘because I could not stop for death’ alongside Wiz Khalifa’s character (1/4)

This week, interrupting our typical weekly Featured Writing schedule as we’re incredibly announce Prudence Bussey-Chamberlain’s latest collection will be forthcoming from Osmosis Press this October 2025! This collection is a consideration of and a writing through what it means to live (1/5)

This week in the Osmosis Featured Writing series, ‘la máquina se turna’ in the ‘omnicultural / revolution’ by Samuel Haecker. This visual poem revolves, subverting the linear conventions of poems written in English; ‘caressing mouths fed regrowth’ are ‘littering rejuvenation’ as (1/3)

This week, Osmosis is ‘upended on top of a green sofa with its seams burst’ in this hybrid experimental text by EK Myerson titled ‘what happens when a list takes on water?’. ‘[N]ow this is a list with legs’, they write, referring to listing as the ‘nautical term to describe when a vessel (1/3)

This week, Osmosis is watching the ‘intermittent spread of drifting cargo ships and the spinning of wind turbines dotting the horizon’ in JD Howse’s ‘Picture of Gray (1922), Henry Scott Tuke’. In this lacerating, evocative, and thinly veiled work of (1/8)

This week, Osmosis is ‘being altered by / my phone the way I / seek stimulus behind it’ in Cogito Ergo by Will Staveley. ‘This is why I travel light’, Staveley writes, offering a litany of quotidian activities ‘ for escape / which is crucially (1/7)

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 (1/5)

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, having (1/4)

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 stand-alone episode (1/3)

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 strikingly Oulipian (1/3)

This week Osmosis is delighted to feature an excerpt from 'The Rat Man' by Lucie Staniek. Opening with a quotation from Literature and Error: A Literary take on Mistakes and Errors, this ‘post-critical essay’ focuses its attention on the ‘“Nixon slip”’. As Nixon himself (1/6)

This week, Osmosis is venturing underground in Olya K-Mehri’s The Soil Does Not Approve of What Is Happening Below. While this poem evocatively charts the movement of the roots, ‘like they’ve heard rumours of fire and want to meet it halfway’, Mehri’s poem looks at the ground as a place (1/3)

This week Osmosis is moving amongst the ‘words [as they] sprout along the inner walls of the womb’ in this week’s scripto-visual piece titled ‘Thāi-mozhi/ തായ്മൊഴി’ by M. P. Pratheesh. ‘[B]reathe. grow. move’ the poem instructs as ‘time preserves nothing’ and ‘disappears (1/2)

thāi-mozhi, a new material poem found its home at @osmosispress.bsky.social featured writing.. osmosispress.com/2025/06/15/m...

This week, Osmosis is delighted to be part of the process of ‘mak[ing] your own Easter bread, kozunak’ in the poem How to prove you still belong by Kapka Nilan. Written after the process of baking Cozonac or Kozunak, a sweet yeast dough that can be used to make various traditional (1/6)

This week Osmosis is ‘receiv[ing] the ~~ river ~~~~~’ in OVER | COME | OVER (CLIMATE EXCHANGE) / TURN OF THE TIDE / FLOTSAM / TONGLEN* by Fianna (Fiona Russell Dodwell). As the I of the poem takes the place of the river, ‘i am flooded ~~~~~~~’ as ‘you (1/5)

For a long time now, I’ve thought of my research into the maquettes as physically sitting within the text of @susiecampbell.bsky.social’s Enclosures @osmosispress.bsky.social. ‘Reaching for things to assure yourself that they are not yet lost’ - this book is beautiful.

This week, Osmosis is with Dani Salvadori in the poem At Rainham Marshes ‘where: / grasslands sweep over the landfill / mud is silvered by water / the A13 is dampened by flight / gravel pit chutes house the future / [and] lorries bring waste to waste’. In this immense and immersive (1/5)

This week, Osmosis is ‘flecked with gilt’ in ‘blue lexicon’ of the ‘[a]mbient barricade’ in the poems 'Flux AH' and 'Flux BI' by Rahul Santhanam. As a semi-ekphrastic work, these poems were written in relation to the movement of lyric abstraction in painting which arose in Paris during the (1/5)

This week, Osmosis is ‘Inside / the Darker nights / of the evergreen / Red Heart’ in these ‘sculptural’, ‘cerebral and sensual’, and ‘vividly arranged’ poems by Sam Francis. Featuring 'The garden', 'The portal', and 'The vessel', ‘there’s Free roses’ inside these surreal (1/3)

Thrilled that @osmosispress.bsky.social are featuring my film / text / textile poem 'Signs on leaves' today at osmosispress.com/2025/05/04/l... ! #filmpoem #ecopoem #ecopoetry #textilepoem #textileart #aeneid #sibyl

This week, Osmosis is reading the ‘Signs on Leaves’ by Laura Davis. Mirroring both the structure of the villanelle and the dactylic hexameter of the Aeneid, Davis’ poem calls out the growing species extinction alongside the catastrophic effects of late-stage capitalism in (1/5)

Today's Featured Writing at @osmosispress.bsky.social: The Life and Legacy of Walt Whitman: With Unfortunate Clarifications from the Undersigned. Like I always say: If you want the truth, don't forget to read the footnotes. tinyurl.com/OsmosisPress #PublicationDay #WritingCommunity #Whitman

This week, Osmosis is featuring Ryan T. Pozzi’s ‘The Life and Legacy of Walt Whitman: With Unfortunate Clarifications from the Undersigned’; while the prose of this piece acknowledges Whitman as ‘a towering figure in the pantheon of American letters’ and ‘the father of (1/5)

TODAY. GUMS AND POMATUMS BY SALVATORE DIFALCO. from @marbledmayhem.bsky.social: This week, ‘Jerry Lee Jones [is] on [the] radio / causing itch to the air’, in Gums and Pomatums by Salvatore Difalco. Gesturing between the American pianist, singer and songwriter, hair (1/5)

TONIGHT. VIDEO POETRY FROM ANGEL DIONNE. DREAMS OF SPLENDOR. (IMAGE OF FRAME AT 0:26. TEXT: ‘Dreams of splendor unearth foreign structures and islands of paper tokens that we squirrel-away in the pockets of your cheeks.’)

FEATURED WRITING SUBMISSIONS OPEN. Every Sunday we showcase a writer on our featured writing blog. We welcome writers from all disciplines to submit work, and are particularly keen to see pieces which engage with hybridity and experimentation.

TONIGHT. SIMON RAVENSCROFT. A RELATIVE PLAY OF WAX, HAZE.

TONIGHT. JHANI RANDHAWA. SQUALL.

TONIGHT. VIDEO POETRY FROM GERALDINE WALSH, EUGENE SKEEF, AND ED EPSTEIN: 'DREAM OF MY GRANDMOTHER'. [IMAGE OF VIDEO FRAME AT 1.08]

EVENING. MARK WYATT. HOW ASCALÁPHUS BECAME AN OWL.

TONIGHT. NADIYA AAMER: seared.

TONIGHT. DYLAN HUSSEY: THROWN BESIDE.

TONIGHT. THREE FROM J. L. MOULTRIE.

TONIGHT. HANNAH MAY HARDING: FINDER.

THIS AFTERNOON. BARNABY SMITH: GROUNDWORK.

THIS EVENING. E K BARTLETT: REMNANTS AFTER BIRTH.

TONIGHT. PETER DONNELLY. AN INFERNAL INTELLIGENCE.