The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They ex­plore the notions of choreography, understood as ways of orga­nizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

Practicing Futures through Voicing, the second book in this series, connects with the first book’s concern with how practices destabi­lize and (re)constitute the concept of conditioning. It does so by questioning how to process life in a way that allows us to create volume, take space, and find our (tone of) voice—first in our immediate surroundings and, through this, in the world as it struggles and moves toward ongoing futures.

October 2019

The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

Thinking Conditioning through Practice, the first book in this series, addresses the question of how these practices destabilize and (re)constitute the concept of conditioning through six writing processes performed by Alex Arteaga, Julia Barrios de la Mora, Julien Bruneau, Laetitia Gendre & Miram Rohde, Heike Langsdorf and Kristof Van Baarle.

June 2018

Contributions by: Julien de Smet, Ronny Heiremans, Heike Langsdorf, Vanessa Müller, Filip Van Dingenen, Stijn Van Dorpe, Clémentine Vaultier, Katleen Vermeir.

The books included in the series Choreography as Conditioning are rooted in a cycle of work sessions entitled CASC at KASK, in which students work together with invited guests. They explore the notions of choreography, understood as ways of organizing subjects in their surroundings, and conditioning in both art-making and society-making. Where, how, and by whom are things organized and what kind of landscapes of experience are made (im)possible by the practices we enact and encounter?

The Orphans of Tar – A Speculative Opera answers the question posed in the second book by transforming life into voices and presenting possible mindsets through co-authoring a factual fiction. As such, it constitutes a mental space in which ficti­tious characters find an almost disturbing expansion of their thoughts. Accordingly, the book can be considered as an alle­gory of human thoughts as (possible) actions: what could happen becomes what does happen. For better and worse.

October 2019

‘Piles of Bricks / Piles de briques’ by Bie Michels presents the working proces of her project ‘Bricks in Madagascar’. This project consists of two films, ‘La couleur de la brique’ and ‘Ingahy Kama’, the installation ‘Circular construction versus human body—referring to Toshikatsu Endo’, which she showed in Madagascar (October 2017) and Argos Brussels (May 2018), and the performance ‘Piles of bricks (working process)’, on which she will work 8 weeks before the book presentation and which will be performed at that moment.
Besides images and stills, five writers deliver a contribution in their own working field related to the project: Hobisoa Raininoro (Art assistent and former director of CRAAM (Centre de Ressources des Arts Actuels de Madagascar, MG), Rafolo Andrianaivoarivony (Professor History University of Antanarivo, MG), Petra Van Brabandt (Doctor philosophy Sint Lucas Antwerp, B), Gwyn Campbell (Professor History Mc Gill University, CA) and Nanne op ‘t Ende (writer, NL)

Published February 2020
English, Dutch, French

During seven years, 16 performers spread Lecture For Every One throughout Europe. They intervened in more than 300 different gatherings, from a corporate sales meeting to a brass-band rehearsal and a municipal council. As uninvited guests, they addressed every one with exactly the same text. Until now, the project has remained largely invisible to the wider public. This book now sheds light on the information and expertise Lecture For Every One has generated—feedback, stories and memories from a range of perspectives. It reflects on how places where people gather can become political instances, on the (im)possibility of addressing every one, and on the value of fiction in our daily lives.

Sarah Vanhee is an artist, performer and writer. Her interdisciplinary work moves between the civilian space and the institutional arts sector, and is best known for its radical gestures and its engagement with non-dominant voices and narratives. Since 2007 she has created several onstage per­formances, (semi-)public interventions and site-specific works that have been widely presented internationally.

With texts & contributions by: Adinda Van Geystelen, Anabela Almeida, Anne Thuot, Anton Wilsens, Bojan Djordjev, Carola Bärtschiger, Christine De Smedt, Christophe Slagmuylder, Daniel Blanga Gubbay, Deborah Hazler, Edith Goddeeris, Elina Pirinen, Evelyne Coussens, Gurur Ertem, Iiris Viirpalu, Ilse Ghekiere, Jan De Brabanter, Jan de Zutter, Joe Kelleher, Katja Dreyer, Kristien Van den Brande, Kristof Blom, Lara Barsaq, Lex Bohlmeijer, Linda Sepp, Mariel Supka, Marika Ingels, Matthieu Goeury, Mylène Lauzon, Robin Vanbesien, Salka Ardal Rosengren, Sarah Vanagt, Sarah Vanhee, Silvia Bottiroli, Taziana Pyson and many others.

Building on previous projects centered on the pedagogy of poets, and friendship through correspondence, LOST & FOUND SERIES VII breaks new ground to present unpublished and presently unavailable materials by novelist, filmmaker, and activist Toni Cade Bambara; iconic poet-activist-teachers Audre Lorde and June Jordan; scholar, activist, and poet Dr. Jack D. Forbes, and letters between North American poet and translator Paul Blackburn and Argentinian in exile novelist, poet, and translator Julio Cortázar.

While Cortázar and Blackburn forged their own institution of sorts, through a friendship that would help ignite the Latin American boom, Forbes, Bambara, Jordan, and Lorde worked in and out of institutions to help transform the landscape of our educational and historical horizons and expectations. For some years Bambara, Jordan, and Lorde all taught together in the City University of New York, the largest urban system in the United States, collaborating with activist students and other faculty to create new curriculum in Black Studies, Ethnic Studies, and Women's Studies. At the same time, Blackburn also taught part-time at City University, while bringing the vision of another world into American English, through his translations of Cortázar, a champion of the Cuban revolution and a writer of unparalleled influence in Latin America. On the other side of the country, Dr. Jack Forbes's vision of hemispheric Indigenous life was brought to bear on his involvement in the creation of D-Q University, the first Indigenous university in California, as well as the creation of Native American Studies at UC Davis, a program that would be emulated at other universities in North America. At the same time, his extraordinary and almost unknown poetry, featured here along with notable materials on his educational activism, presents a vision of Los Angeles cutting across race, class, and ethnicity that the work of all the writers in this Series help us realize.

SERIES VII Includes:

Audre Lorde
"I teach myself in outline," Notes, Journals, Syllabi, & an Excerpt from Deotha 

Toni Cade Bambara
"Realizing the Dream of a Black University," & Other Writings (Parts I & II)

June Jordan
"Life Studies," 1966-1976 

Jack Forbes
"Yanga Ya," Selected Poems & The Goals of Education 

Paul Blackburn & Julio Cortázar
"Querido Pablito"/"Julissimo Querido," Selected Correspondence, 1958-1971 (Parts I & II) 

Naomi Mitchison, daughter of a distinguished scientist, sister of geneticist J B S Haldane, was always interested in the sciences, especially genetics. Her novels did not tend to demonstrate this, and she did not publish a Science Fiction novel until almost forty years into her fiction-writing career.

Isobel Murray's introduction here argues that it is by no means 'pure' Science Fiction: the success of the novel depends not only on the extraordinarily variety of life forms its heroine encounters and attempts to communicate with on different worlds: she is also a very credible human, or Terran, with recognisibly human emotions and a dramatic emotional life. This novel works effectively for readers who usually eschew the genre and prefer more traditional narratives.

Explorers like Mary are an elite class who consider curiosity to be Terrans' supreme gift, and in the novel she more than once takes risks that may destroy her life. Her voice, as she records her adventures and experiments, is individual, attractive and memorable.

Translated from the Spanish by Yvette Siegert. In 1962, Pizarnik published her fourth collection, Diana's Tree, the book that would both change and establish her poetic voice, and it contained the slimmest verses the poet would ever write. It also carried a glowing introduction by Octavio Paz, who by that point served as a prominent Mexican diplomat in Paris and had become a leader of the city's expatriate literary circles. Diana'a Tree, wrote Paz, was a feat of alchemical prowess, a work of precocious linguistic transparency that let off "a luminous heat that could burn, smelt or even vaporize its skeptics."

Before Maggie Nelson's name became synonymous with genre-defying, binary-slaying writing, Something Bright, Then Holes introduced readers to a singular voice in the making: exhilarating, fiercely vulnerable, intellectually curious, and one of a kind. Whether writing from the debris-strewn shores of a contaminated canal or from the hospital room of a friend, Nelson charts each emotional landscape she encounters with unparalleled precision and empathy. Since its publication in 2007, the collection has proven itself to be both a record of a singular vision in the making as well as a timeless meditation on love, loss, and--perhaps most frightening of all--freedom.

Poet, philosopher, speculative architect and transdisciplinary artist, Madeline Gins is well known for her collaborations with her husband, the artist Arakawa, on the experimental architectural project Reversible Destiny, in which they sought to arrest mortality by transforming the built environment. Yet, her own writings--in the form of poetry, essays, experimental prose and philosophical inquiries--represent her most visionary and transformative work. Like Gertrude Stein before her, Gins transfigures grammar and liberates words. Like her contemporaries in conceptual art, her writing is attuned to the energized, collaborative space between reader and page.

The Saddest Thing Is That I Have Had to Use Words: A Madeline Gins Reader is a revelatory anthology, edited and with an introduction by the writer and critic Lucy Ives. It brings never-before-published poems and essays together with a complete facsimile reproduction of Gins' 1969 masterpiece, WORD RAIN (or A Discursive Introduction to the Intimate Philosophical Investigations of G, R, E, T, A, G, A, R, B, O, It Says), along with substantial excerpts from her two later books What the President Will Say and Do!! (1984) and Helen Keller or Arakawa (1994). Long out of print or unpublished, Gins' poems and prose form a powerful corpus of experimental literature, one which is sure to upend existing narratives of American poetics at the close of the 20th century.

Edited by Lucy Ives. 

A reissue of Bernadette Mayer's classic fugitive intergenre text. Endlessly inclusive, The Desires of Mothers to Please Others in Letters, first published in 1994 and long out of print, evokes the complexity of real persons as it simultaneously reinvents multiple genres: epistle, prose poem, and memoir.

Written between 1979 and 1980 while pregnant with her third child, Mayer extends her imaginative letters into meditations for us all on life as it is lived in real time, with its responsibilities and manifold desires. Fierce, lyrical, intimate, and wise, both new and familiar readers, both mothers and non–mothers, will find this book beckoning again and again to offer delicious writing, timely information, consolation, and advice.

With Introduction by Laynie Browne. 

Nuisance compiles articles, essays, lecture transcripts, album annotations and other texts written by queer audio producer and writer Terre Thaemlitz between 1996 and 2015.

The overall theme uniting the texts is a defense of pessimism and a critical rejection of the incessant optimism lurking at the core of virtually all media – even in the “critical fields” themselves, where it reflects our conformity to those First World humanist and capitalist practices we wish to critique.

Over three dozen c**ts of every size and description for you to color. Originally used for a sex-education class. Crayons not included.

Tee A. Corinne (born Linda Tee Cutchin), (November 3, 1943 - August 27, 2006) was an American photographer, visual artist, writer, and activist, whose published work includes the infamous (or justly famous) Cunt Coloring Book. She was born in St. Petersburg, Florida, and educated at Newcomb College, Tulane University; St. Petersburg Junior College (A.A. 1964); University of South Florida (B.A. 1965); and Pratt Institute (M.F.A., 1968), she became an outspoken advocate and activist for lesbian sexual, literary, and artistic expression. She grew up in the Southern United States and the Bahama Islands, went north to graduate school, and west to sort out her life in 1972. Married once for seven years, she spent the last twenty-five years of her life in the company of women. She began exhibiting and publishing art and writing in the mid-1960s. She was a co-facilitator of the Feminist Photography Ovulars (1979-1981) and a co-founder of The Blatant Image, A Magazine of Feminist Photography (1981-1983). She was the author of one novel, three collections of short stories, four books of poetry and numerous artists books and small edition publications. Family, her show of mixed media drawings about growing up in an alcoholic family, has been the subject of a video interview by Jane Scott Productions. Portfolios of her art have been published in Lesbian Subjects, Feminist Studies, Gallerie: Women's Art, The Advocate, Philadelphia Gay News, The Lesbian Inciter, I Am My Lover (first edition, 1979) and Femalia. Corinne wrote about art for a variety of publications and, from 1987, was the art books columnist for Feminist Bookstore News. A co-founder and past co-chair of the Gay & Lesbian Caucus (an affiliated society of the College Art Association), she also co-founded the Women's Caucus for Art Lesbian & Bisexual Caucus. In 1991, she was chosen by Lambda Book Report as one of the fifty most influential lesbians and gay men of the decade, and in 1997 she received the Women's Caucus for Art President's Award for service to women in the arts. According to Completely Queer: The Gay and Lesbian Encyclopedia,"Corinne is one of the most visible and accessible artists in the world." She died in Oregon, aged 62.

Starship Magazine #19 presents contributions by John Boskovich, Elijah Burger, Simon Denny, Cornelia Herfurtner, Yuki Kimura, Vera Palme, Nora Schultz, Jack Smith; and by Rosa Aiello, Carter Frasier, María Galindo, Samuel Jeffery & Daniel Herleth, Elisa R. Linn, Paul B. Preciado, and Haytham El-Wardany

introducing new columnists: Mihaela Chiriac, Michèle Graf & Selina Grüter, Julia Jung, The Parliament of Bodies, and Ulla Rossek

and our columnists: Tenzing Barshee, Gerry Bibby, Mercedes Bunz, David Bussel, Eric D. Clark, Jay Chung, Hans-Christian Dany with Valérie Knoll, Francesca Drechsler, Stefanie Fezer & Vera Tollmann, Julian Göthe, Karl Holmqvist, Stephan Janitzky, Jakob Kolding, Lars Bang Larsen, Ariane Müller with Huang Rui, Robert M. Ochshorn, Mark von Schlegell, Max Schmidtlein, Amelie von Wulffen, and Florian Zeyfang 

and artworks by Melvin Edwards, Elizabeth Ravn, Nong Shoahua, and Mark van Yetter.

A young poet on the cusp of motherhood shares a scientific, cultural, and artistic examination of why and how people cry and what crying means. Heather Christle has just lost a dear friend to suicide and must reckon with her own struggles with depression and the birth of her first child. How she faces her joy, grief, anxiety, impending motherhood, and conflicted truce with the world results in a moving meditation on the nature, rapture, and perils of crying--from the history of tear-catching gadgets (including the woman who designed a gun that shoots tears) to the science behind animal tears (including moths who drink them) to the fraught role of white women's tears in racist violence.

Wayward Lives, Beautiful Experiments examines the revolution of black intimate life that unfolded in Philadelphia and New York at the beginning of the twentieth century. In wrestling with the question of what a free life is, many young black women created forms of intimacy and kinship indifferent to the dictates of respectability and outside the bounds of law. They cleaved to and cast off lovers, exchanged sex to subsist, and revised the meaning of marriage. Longing and desire fueled their experiments in how to live. They refused to labor like slaves or to accept degrading conditions of work. Here, for the first time, these women are credited with shaping a cultural movement that transformed the urban landscape. Through a melding of history and literary imagination, Wayward Lives, Beautiful Experiments recovers these women's radical aspirations and insurgent desires.

05/09/04 Now she is blogging. Now she is sitting on the black couch listening to the sirens wail and the rain fall. Now she is thinking of oysters. Now she is wondering why this is worth sharing. Now she is thinking, how decipher what is worth reading? Who is to say? Sifters. She thinks we have become a nation of sifters. So began a three-year experiment in blogging. An experiment begun for many reasons—a way for an expat to keep in touch with fellow Canadian writers and artists, a way to come to terms with the increasing relevance of the internet in literary lives, and a way to figure out why, after decades of gains, women writers are still grossly underrepresented in critical dialogues.

With an afterword by Vanessa Place.

Parrhesiades is a multi-platform project, established in 2019 by curator Lynton Talbot to work with artists for whom language, either written spoken or otherwise performed is an essential part of their practice. Together with the artist, parrhesiades develops a single new work that exists across multiple platforms. With contributions by Quinn Latimer, Sung Tieu, Jesper List Thomsen, Elaine Cameron-Weir, Johanna Hedva, Eva Gold and Cally Spooner.

Making Connections is the fifth issue of Sinister Wisdom's series of work edited by the Southern Lesbian Feminist Activist Herstory Project, documenting the vital lesbian-feminist activism that proliferated in the US South during the 1970s, 1980s, and 1990s. Making Connections details the extensive networking of lesbian booksellers, publishers, writing groups, and newsletter through engaging interviews, first person narratives, and innovative graphic timelines.

In the second volume of the Native Tongue trilogy, the time has come for Láadan—the secret language created to resist an oppressive patriarchy—to empower womankind worldwide. To expand the language’s reach, female linguists translate the Bible into Láadan, and a group of Roman Catholic nuns are tasked to spread the language. But when outraged priests detect their sabotage, they send a double agent to infiltrate and destroy the movement from the inside.

With a foreword by Rebecca Romney

Suzette Haden Elgin (born Patricia Anne Wilkins; 1936–2015) was an American science fiction author. She founded the Science Fiction Poetry Association, and was considered an important figure in the field of science fiction constructed languages. Elgin was also a linguist; she published non-fiction, of which the best-known is the Gentle Art of Verbal Self-Defense series.

The final book in the Native Tongue Trilogy.

The interstellar Consortium of Planets has forsaken the irredeemably violent Earth, condemning the planet to economic and ecological chaos. As the Consortium prepares to euthanize the planet, women freedom fighters are offered one last chance to correct men’s brutal nature and stop the planet’s annihilation. In the stunning conclusion to the Native Tongue trilogy, female linguists must once again come forward to ensure the survival of humanity.

Suzette Haden Elgin (born Patricia Anne Wilkins; 1936–2015) was an American science fiction author. She founded the Science Fiction Poetry Association, and was considered an important figure in the field of science fiction constructed languages. Elgin was also a linguist; she published non-fiction, of which the best-known is the Gentle Art of Verbal Self-Defense series.

Examining the genre-bending writing of Dodie Bellamy, whose work has focused on sexuality, politics, feminism, narrative experimentation, and all things queer.

Dodie Bellamy Is on Our Mind is the first major publication to address Bellamy's prolific career as a genre-bending writer. Megan Milks made several trips to San Francisco in order to spend time with Bellamy and craft a provocative and fascinating profile of the writer. Originally delivered as a lecture at the Wattis Institute, Andrew Durbin's text takes the form of a personal essay, expertly weaving anecdotes of his own encounters with Bellamy's writing with insights into broader themes in her work. Academic Kaye Mitchell takes a close look at the role of shame and its relationship to femininity in particular texts by Bellamy. And Bellamy and her late husband Kevin Killian offer deeply personal, emotionally wrenching ruminations on topics from the mundane (drawing) to the profound (mortality). These texts, alongside archival photos and a complete bibliography make, this book an important compendium on Bellamy.

Dodie Bellamy (b. 1951, in North Hammond, Indiana) has lived and worked in San Francisco since 1978. A vital contributor to the Bay Area's avant-garde literary scene, Bellamy is a novelist and poet whose work has focused on sexuality, politics, feminism, narrative experimentation, and all things queer. In her words, she champions “the vulnerable, the fractured, the disenfranchised, the fucked-up.”

McKenzie Wark invents a new genre for another gender: not a memoir but an auto-ethnography of the opacity of the self.

Another genre for another gender.

What if you were trans and didn't know it? What if there were some hole in your life and you didn't even know it was there? What if you went through life not knowing why you only felt at home in your body at peak moments of drugs and sex? What if you expended your days avoiding an absence, a hole in being? Reverse Cowgirl is not exactly a memoir. The author doesn't, in the end, have any answers as to who she really is or was, although maybe she figures out what she could become.

Traveling from Sydney in the 1980s to New York today, Reverse Cowgirl is a comedy of errors, chronicling the author's failed attempts at being gay and at being straight across the shifting political and media landscapes of the late twentieth century. Finding that the established narratives of being transgender don't seem to apply to her, Wark borrows from the genres of autofiction, fictocriticism, and new narrative to create a writing practice that can discover the form of a life outside existing accounts of trans experience: an auto-ethnography of the opacity of the self.

Published in 1666, The Blazing World stands as one of the first Western works of Science Fiction. In its assertion that all animal flesh is made of rational matter (including that of the female body) Margaret Cavendish wrote the only 17th century text of its kind - a book of gendered natural philosophy.

Caught in frost at the North Pole, Cavendish tells the story of a woman who is saved by crossing over from our world, to a whole new Utopia. Amongst gems and stars she finds a city of half-human half-beast scientists. Worm- Men, Bear-Men, Bird-Men and Fish-Men welcome her to their land. Together they toil in their investigations, describing Nature afresh.

Cavendish predicted motors, submarines and nautical machinery long before these technologies came to exist in the present. As more than just a work of fantastical invention, The Blazing World is important for its portrayal of invention itself. Enlightenment technology is described here as a recourse to protect the world. All of it. The feeling and reasoning matter of all animals, minerals, trees and plants is significant for its proto-environmentalism and for its path-setting form: philosophy as poetry; science as poetry.

With a foreword by Emile Frankel.

the lesbian body

{ENTHUSIASM} is the 7th poetry collection by poet, artist, curator and vanguardist SJ Fowler. It follows highly-acclaimed collections including The Rottweiler's guide to the Dog Owner and Enemies: the selected collaborations of SJ Fowler. The book's 81 poems are intended as individual pieces in their own right, but are interlinked by subjects including battle and violence, infants and infancy, religion, economy and population, the self, modernity, and the past.

'My aim for Mother Reader has been to bring together examples of the best writing on motherhood of the last sixty years, writing that tells firsthand of the mother's experience.

Many of the writings in Mother Reader comment on and interpolate one another, in citations, in footnotes, in direct homage. As I was assembling this collection one text would lead to one another, treasure-hunt fashion, the clue provided by an acknowledgement or bibliography. And just as often the writing circles back.

In Mother Reader chapters are excerpted from autobiographies, memoirs, and novels; entries are lifted from diaries; essays and stories are culled from collections, anthologies, and periodicals. My project has been to assemble a compendium or sampler of these ''kindred spirit'' works on motherhood, so that readers, and especially mothers with limited time on their hands, can access in one volume the best literature on the subject and know where turn to continue reading." [Moyra Davey in the introduction]

Writings by Margaret Atwood, Susan Bee, Rosellen Brown,Myrel Chernick, Lydia Davis, Buchi Emeta, Annie Ernaux, Mary Gaitskill, Susan Griffin, Nancy Hutson, Mary Kelly, Jane Lazarre, Ursula Le Giun, Doris Lessing, Ellen McMahon, Margaret Mead, Vivian Montgomery, Toni Morrison, Tillie Olsen, Alicia Ostrker, Grace Paley, Sylvia Plath, Adrienne Rich, Sara Ruddick, Lynda Schor, Mira Schor, Dena Schottenkirk, Mona Simpson, Elizabeth Smart, Joan Snyder, Elke Solomon, Susan Rubin Suleiman, Alice Walker, Joy Williams, Martha Wilson, Barbara Zucker.

Spells brings together thirty-six contemporary voices exploring the territory where justice, selfhood and the imagination meet the transformative power of the occult. These poems unmake the world around them, so that it might be remade anew.

With Kaveh Akbar, Rachael Allen, Nuar Alsadir, Khairani Barokka, Emily Berry, A.K. Blakemore, Jen Calleja, Vahni Capildeo, Kayo Chingonyi, Elinor Cleghorn, CAConrad, Nia Davies, Kate Duckney, Livia Franchini, Will Harris, Caspar Heinemann, Lucy Ives, Rebecca May Johnson, Bhanu Kapil, Amy Key, Daisy Lafarge, Dorothea Lasky, Ursula K. Le Guin, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Rebecca Perry, Nat Raha, Nisha Ramayya, Ariana Reines, Sophie Robinson, Erica Scourti, Dolly Turing, Jane Yeh.

GenderFail: An Anthology On Failure is the first in a series of publications that look into various concepts of failure from the perspectives of artists, activists, writers, and curators. The failures discussed in this publication come from various different places - from personal, political, institutional, and collective sources. Each participant was invited to contribute a work surrounding failure - especially as it pertains to their own experiences - to expand upon topics of ableism, mental health, passing, whiteness, colonization, police brutality and other illustrations of failure put onto us by dominant culture. This resulting collection might fail to articulate a cohesive interpretation of something as complex as failure, but will hopefully incite a collective consciousness that is as messy as it is thought provoking. Contributions by: Manuel Arturo, Abreu, American Artist, Sasha Costanza-Chock, Demian DinéYazhi, Johanna Hedva, Nicole Killian, Andrea Liu, Be Oakley, Nate Pyper, Sable Elyse smith, Alok Vaid-Menon, Augustine Zegers.

Nuisance compiles articles, essays, lecture transcripts, album annotations and other texts written by queer audio producer and writer Terre Thaemlitz between 1996 and 2015.

The overall theme uniting the texts is a defense of pessimism and a critical rejection of the incessant optimism lurking at the core of virtually all media – even in the “critical fields” themselves, where it reflects our conformity to those First World humanist and capitalist practices we wish to critique.

An brilliant debut collection of poems that mixes ekphrasis with reportage to draw a new narrative of our present-day migration crises.

Nails is an archive of images of hundreds of manicure tutorials on youtube. "I wanted to bring out the strangeness that emerges from these claws metallized, both prosthetic and disabling, both objects of desire and disgust. Throughout the book, we find ourselves lost in piles of flesh, varnish that establish the uncomfortable as much by the sexual character that emerges as the misunderstanding of the image."

A debutante frees a hyena from the zoo so that it might take her place at her coming-out ball; an artist paints a portrait of a man’s dead wife, but finds she has painted herself instead; a woman makes love to a boar underneath a mountain of cats; a chicken is roasted with the brains and livers of thrushes, truffles, crushed sweet almonds, rose conserve and drops of divine liqueur; two noble sisters wonder whether anybody can be ‘a person of quality if they wash away their ghosts with common sense’; a psychoanalyst must decide what to do with the gift of a team of Russian rats trained to operate on humans. In this first complete edition of Leonora Carrington’s short stories, written throughout her life from her early years in Surrealist Paris to her late period in Dirty War-era Mexico City, the world is by turns subversive, funny, sly, wise and disarming.

on Death, Healing, Mourning, Death, Illnes, Healing, Death, Mourning, And More