This passionate love letter to opera, lavishly praised and nominated for a National Book Critics Circle Award when it was first published, is now firmly established as a cult classic. In a learned, moving, and sparklingly witty melange of criticism, subversion, and homage, Wayne Koestenbaum illuminates mysteries of fandom and obsession, and has created an exuberant work of personal meditation and cultural history.

On a lonely wharf a clerk in an ink-blue coat inspects bales and bales of paper that hold a poet's accumulated left-hand pages—the unwritten, the withheld, the unexpressed, the withdrawn, the restrained, the word-shard.

In The Blue Clerk renowned poet Dionne Brand stages a conversation and an argument between the poet and the Blue Clerk, who is the keeper of the poet's pages. In their dialogues—which take shape as a series of haunting prose poems—the poet and the clerk invoke a host of writers, philosophers, and artists, from Jacob Lawrence, Lola Kiepja, and Walter Benjamin to John Coltrane, Josephine Turalba, and Jorge Luis Borges.

Through these essay poems, Brand explores memory, language, culture, and time while intimately interrogating the act and difficulty of writing, the relationship between the poet and the world, and the link between author and art. Inviting the reader to engage with the resonant meanings of the withheld, Brand offers a profound and moving philosophy of writing and a wide-ranging analysis of the present world.

Femme Ghosts is the result of Mona Kareem’s residency at Poetry International 2019, published in collaboration with Publication Studio Rotterdam. In this series of eight poems, Kareem continues her echoing of women’s voices—the pirate women, busy with their dreams, dwelling on future pasts, indulging in their loneliness. Femme Ghosts is double-direction bound trilingual publication, and includes Kareem’s poetry in Arabic, English and Dutch. 

How do lesbians live in the city, whether they live in the city by themselves or within intentional community? How does the city change what being a lesbian means? Sinister Wisdom 117: Lesbians in the City explores these questions--and many more.

The issue features creative work by: Srestha Sen, Carina Julig, Roin Morigeau, t pomar, Rita Mookerjee, Margarita Meklina as well as SPORTS -- a selection of work from the Southern Lesbian Feminist Activist Herstory Project, edited by Rose Norman and Merril Mushroom. Plus a great selection of new lesbian writing!

This is the first English-language translation of Poetic Intention, Glissant’s classic meditation on poetry and art. In this wide-ranging book, Glissant discusses poets, including Stéphane Mallarmé and Saint-John Perse, and visual artists, such as the Surrealist painters Matta and Wilfredo Lam, arguing for the importance of the global position of art. He states that a poem, in its intention, must never deny the “way of the world.” Capacious, inventive, and unique, Glissant’s Poetic Intention creates a new landscape for understanding the relationship between aesthetics and politics.

A collection of essays, artistic contributions, and two inserted zines, Queer City, A Reader was developed as part of an 18-month inquiry in São Paulo. Initiated by Lanchonete.org and ArtsEverywhere/Musagetes, the Queer City program was a broad collective inquiry into how can we understand the contemporary city through a queer, intersectional, non-normative lens. The program included a series of encounters, dinners, residencies and performances, and Queer City, A Reader reconfigures these moments into a new form, extending the inquiry trans-nationally.

With contributions by Todd Lanier Lester, Shawn Van Sluys, Jota Mombaça, Bruno Mendonça and Nat Cout, João Marcelo and Claudio Bueno, Juliana Santos, Thiago Carrapatoso, Bibi Abigail, Carué Contreiras, Bruno Puccinelli, Vitor Grunvald, Kadija, Regis Mikail, Sabrina Duran, Jean-François Prost, Niki Singleton, Thiago Hersan, Ternura Radical and the Queer Graphics Laboratory. Edited by Júlia Ayerbe and designed by Laura Davinas of Edições Aurora/Publication Studio São Paulo. The English version of this book was published by Publication Studio Guelph. It is available in Portugese from Publication Studio São Paulo. Printed by Publication Studio Rotterdam for rile*.

New Narrative pioneer Kevin Killian's novel, Spreadeagle, has been two decades in the making. Skating nimbly over the vast surface of pop history through a forest of movie stars, pop sensation and dazzling social technologies, Killian undoes the ties that bind a half-dozen Californian men—Daniel Isham, the powerful, popular gay novelist; Kit Kramer, his insecure activist boyfriend; Daniel's father, Ralph Isham, the world-renowned poet who haunts him in death; Eric Avery, the Duchamp-loving twink who wins Kit's heart; and the shadowy Radley brothers, Adam and Gary, who destroy them all. This is the great gay novel that America has been waiting for.

Publication Studio's Fellow Travelers series extends the pioneering work of Paris-based Olympia Press's Traveller's Companion series of the 1950s and 60s, which published work that had been banned or censored through moralistic prohibition. Our series presents great new work that has been effectively 'censored' by the market. In our day, the market is the definitive censor. The Fellow Travelers series proudly presents great work that the market has not endorsed, but that we believe in.

The seventh book in Publication Studio's Fellow Travelers Series, is a love letter between generations of queer people. Set in New York City in 2001, we follow Phillip—a gender subversive drag king in search of grace and magic—through rich, sad, humorous language that is singularly Shelley Marlow's.

Kevin Killian writes, "I've been dying for something first rate and innovative and have found this in Marlow's writing. Her hero, Phillip/Philomena...is the most enchanting and elusive central character in a novel since Cassandra in Dodie Smith's Capture the Castle. While many have compared Marlow to the late Jane Bowles, I would agree if only there was a loving and empathetic Jane Bowles, and now there is and here is her book."

An essay on the forms or purposes of writing, books and libraries. Or as Quinn Latimer wrote: 'There is a relatively well-known workshop at Werkplaats Typografie, the school for design in Arnhem, Netherlands, called 'Best Books'. This past year the school asked the artist Sophie Nys to lead this course. In due time, Nys wrote König and asked if she might bring her students from the workshop to Cologne to discuss his work with books in the space of his own bookstore. She added that since he likely didn’t have enough chairs for all of her students, they would bring their own. König agreed. Then she asked her students to each pick their favorite book. They did so. Then she asked these students to design a chair inspired by that volume. An inspired idea. Strange—and useful. Thus 16 pieces of furniture suggested and elliptically inspired by specific books were built, a kind of living library of booklike creations, as another Walter might put it. The students went to see Herr König, stools in hand, their library entering his. I heard from Sophie in our email correspondence and singular Skype conversation that it was a wonderful visit. I even saw some pictures from that day. After the students returned to Arnhem, and for the final part of the project, they decided to make a publication. This is where I—and the text you are reading now—enter the picture, as they say.'

‘To C.L.S.’, ‘For A.L.M.’, ‘In Memory of J.V.C.’ – Starting from his collection of three-letter dedications, Robin Waart’s new artist book "Dedication(s)" looks at public yet hidden modes of address. While these dedications appear in printed books, they remain private, intimate allusions between author and intended recipient. The project infers the strange position of the reader who encounters these cryptic dedications, which perhaps get in the way of—or better clarify?—the relationship between author and audience. Waart’s project questions the relationship between a work and the reality in which it comes about, and why, and for whom, we make what we make.

2018, book publication, offset and watermark on paper, edition of 800, 26 x 20.3 x 0.65 cm

'Toward what goal do I aspire, ever, but collision? Always accident, concussion, bodies butting together. By collision I also mean metaphor and metonymy: operations of slide and slip and transfuse.' In his new nonfiction collection, poet, artist, critic, novelist, and performer Wayne Koestenbaum enacts twenty-six ecstatic collisions between his mind and the world. A subway passenger's leather bracelet prompts musings on the German word for stranger; Montaigne leads to the memory of a fourth-grade friend's stinky feet.

Koestenbaum dreams about a hand job from John Ashbery, swims next to Nicole Kidman, reclaims Robert Rauschenberg's squeegee, and apotheosizes Marguerite Duras as a destroyer of sentences. He directly proposes assignments to readers: Buy a one-dollar cactus, and start anthropomorphizing it. Call it Sabrina. Describe an ungenerous or unkind act you have committed. Find in every orgasm an encyclopedic richness. Reimagine doing the laundry as having an orgasm, and reinterpret orgasm as not a tiny experience, temporally limited, occurring in a single human body, but as an experience that somehow touches on all of human history. Figure It Out is both a guidebook for, and the embodiment of, the practices of pleasure, attentiveness, art, and play. 

May 2020

In Toxicon & Arachne, McSweeney allows the lyric to course through her like a toxin, producing a quiver of lyrics like poisoned arrows. Toxicon was written in anticipation of the birth of McSweeney's daughter, Arachne. But when Arachne was born sick, lived briefly, and then died, McSweeney unexpectedly endured a second inundation of lyricism, which would become the poems in Arachne, this time spun with grief. Toxicon & Arachne is the culmination of eight years of engagement with lyric under a regime of global and personal catastrophes.

Slow Tongue is the debut writing and poetry collection from Olivia Douglass. A verse-essay/lyric essay hybrid examining race, sexuality and the relationship between Black women artists. 'Slow Tongue' is a response to the writings of M. NourbeSe Philips 'She Tries Her Tongue Her Silence Softly Breaks', and works to continue the decolonisation of language and imagery.

Each piece may be taken individually, but it is through looking at their positioning amongst each other that something more comprehensive, provocative and challenging comes together.

Written and designed by Olivia Douglass 
Cover illustration by Jack Tongeman

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement.

Through intertwined threads of autofiction, lyric science writing, and the tale of a newly queer Hawaiian volcano, Sabrina Imbler delivers a coming out story on a geological time scale. This is a small book that tackles large, wholly human questions--what it means to live and date under white supremacy, to never know if one is loved or fetishized, how to navigate fierce desires and tectonic heartbreak through the rise and eventual eruption of a first queer love.

Sabrina Imber's DYKE (GEOLOGY) is not only gorgeous, it is wildly transformative. It contains sentences that mimic the Earth itself: craggy, pitted, alive. There is so much movement, a momentum that sweeps readers along sentence by sentence. The structures Imbler builds are deeply affecting, deeply moving. The heart of it sits exposed, bare and beating, pulsing and insistent. This writing is very queer, very loving, very painful, very poignant. It is revolutionary work."--Kristen Arnett

"Imbler queers the history of the world here--a thrilling summer romance set to geological time, unlike any I know, spanning the globe and the history of humanity and the space between two dyke hearts. Play in the waves of this mind and emerge renewed."--Alexander Chee

Sabrina Imbler is a half-Chinese writer and dyke based in Brooklyn. She is a staff writer for Atlas Obscura and the recipient of fellowships from Jack Jones Literary Arts, the Asian American Writer's Workshop, and Paragraph NY. Sabrina wrote the monthly "My Life in Sea Creatures" column at Catapult and her essay collection How Far the Light Reaches is forthcoming from Little, Brown in 2021.

A Midsummer Night’s Press and Sinister Wisdom are pleased to announce the publication of Sinister Wisdom 102: The Complete Works of Pat Parker with a new introduction by poet and scholar Judy Grahn; an afterword by volume editor Julie R. Enszer, with extensive notes on the poems; photographs of Parker and a bibliography.

'In The Complete Works of Pat Parker, we have a trove of her artistic and political engagements-poetry and stories and plays and speeches; these are not separate realities. They intertwine in her now classic works, Movement in Black (1978), Womanslaughter (1978), and Jonestown & Other Madness (1985). But here too are less celebrated and uncollected works, plays especially, that show off Parker’s willingness to experiment, to push us towards more politicized realities.' - Alexis de Veaux

Included in Sinister Wisdom 102: The Complete Works of Pat Parker are Parker’s masterwork, Movement in Black, as well as Jonestown & other madness. Parker’s prose writing is collected in The Complete Works along with two unpublished plays and a number of previously uncollected poems. Editor Julie R. Enszer notes, “The breadth of creative output collected here demonstrates the seriousness of Parker’s overall work as a writer. Beginning in 1963, when she was nineteen years old, and continuing until she died in 1989, Parker took her work as a writer seriously. Gathering as much of it as possible into a single volume invites readers to take it seriously as well.”

‘There’s rats and there’s roaches. Anna and her lover live in a shoe store and stroll around Barcelona’s Eixample. One is obsessed with local shopkeepers and the ways rats and roaches gentrify neighborhoods. The other traces the circulation of sand as a commodity around the city.’

'Any space where one can live must be occupied, borrowed or, at last, rented. The shoebox is the home of an animal imprisoned by humans, and a metaphor for precarious housing; that’s why I live in a shoe store. The owners have gone on vacation and to keep the wheel turning, I’ve stayed to spin the coins.'

Co-edited by Yabi, Jupiter Woods and AC/E. ➰➰➰ Silk-screened and printed at Rijksakademie voor Beeldende Kunsten. May 2020.

March brings together poems and performance texts by Nathalie Rozanes, as well as a conversation with Elizabeth Ward and Tarek Halaby. 

'Maybe I have never made a performance that was not about identification and its complexity. About positioning oneself. Maybe I have never made a piece that is not about how one thing leads to another. Maybe I have never made a piece that is not about process. (...)' 

Published May 2020.

BEAUTY KIT – AN ECO-EROGENOUS ART PROJECT by Isabel Burr Raty with contributions by Kristin Rogghe, Elke Van Campenhout, Gosie Vervloessem, Pablo Diartinez and Tim Vets, is an experimental catalog summarizing Isabel Burr Raty’s research on conceptualizing and manufacturing eco-erogenous para-pharmaceutical products. It tells the story of the BKFF, a mobile farm where she and other females harvest their orgasmic juices to produce beauty bio-products, used for treatments in the BK Spa, critically discussed in the BK Focus Group and moving forward into becoming a village, where every-body harvests each other. The catalog comes with contributing text, “Harvesting bodies – The Farm as Paradox” by Elle/Elke Van Campenhout, and other reflections on the project.

Isabel Burr Raty is a Belgian-Chilean artist, filmmaker, and Media Art History teacher in ERG (École de Recherche Graphique), living between Brussels and Amsterdam. She is currently developing her second feature film, about the colonial impact on Easter Island, and creating live art and new media installations that queer production understandings, such as the Beauty Kit Project. Her works have been shown internationally.

In Black and Blur—the first volume in his sublime and compelling trilogy consent not to be a single being—Fred Moten engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life. In these interrelated essays, Moten attends to entanglement, the blurring of borders, and other practices that trouble notions of self-determination and sovereignty within political and aesthetic realms. 

Black and Blur is marked by unlikely juxtapositions: Althusser informs analyses of rappers Pras and Ol' Dirty Bastard; Shakespeare encounters Stokely Carmichael; thinkers like Kant, Adorno, and José Esteban Muñoz and artists and musicians including Thornton Dial and Cecil Taylor play off each other. Moten holds that blackness encompasses a range of social, aesthetic, and theoretical insurgencies that respond to a shared modernity founded upon the sociological catastrophe of the transatlantic slave trade and settler colonialism. In so doing, he unsettles normative ways of reading, hearing, and seeing, thereby reordering the senses to create new means of knowing. 

Fred Moten is Professor of Performance Studies at New York University and the author of B Jenkins, also published by Duke University Press, In the Break: The Aesthetics of the Black Radical Tradition, and coauthor of The Undercommons: Fugitive Planning & Black Study.

(Dec 2017)

Drawn from Lou Sullivan’s meticulously kept journals, this landmark book records the life of arguably the first publicly gay trans man to medically transition.

We Both Laughed In Pleasure: The Selected Diaries of Lou Sullivan narrates the inner life of a gay trans man moving through the shifting social, political, and medical mores of the second half of the 20th century. Sullivan kept comprehensive journals from age eleven until his AIDS-related death at thirty-nine. Sensual, lascivious, challenging, quotidian and poetic, the diaries complicate and disrupt normative trans narratives. Entries from twenty-four diaries reveal Sullivan’s self-articulation and the complexity of a fascinating and courageous figure.

Edited by: Ellis Martin and Zach Ozma
Introduction by: Susan Stryker

In 2015, Jacob finds himself wandering the streets, swamps and cemeteries of New Orleans. Through his search for a man named Ignatius, 'O Fortuna' tells the story of his attempt to make a film. We discover the city’s unique atmosphere and meet a bizarre cast of characters who assist Jacob with his uncertain attempts at shooting scenes of DAT LIKWID LAND.

A pathbreaking new volume of poems from Fred Moten, All That Beauty combine's Moten's penchant for lyrical prosody, radical thought, and African American theory to produce writing unlike any other poetry in the world: "What is it to reside without settling? Is that is or is that ain't like being stuck in sweetness, held in life?"

"The line between Fred Moten’s theory and poetry is increasingly cloudy; the distinction almost seems (but isn’t quite) irrelevant. In All That Beauty, his new poetry collection, the poems come closer than ever before to the capacious, disorienting density of his prose writing: not just for their hairpin turns of speculative reasoning, or even their gleeful embrace of specialized academic terminology, but because they are strewn with names, citations and allusions that situate the text in a range of discourses – from Black studies to sound studies to the philosophy of maths." —Steven Zultanski

(Published 2019.)

The Mausoleum of Lovers comprises Guibert's journals, kept from 1976-1991. Functioning as an atelier, it forecasts the writing of a novel, which does not materialize as such; the journal itself -- a mausoleum of lovers -- comes to take its place. The sensual exigencies and untempered forms of address in this epistolary work, often compared to Barthes' A Lover's Discourse, use the letter and the photograph in a work that hovers between forms, in anticipation of its own disintegration.

HERVÉ GUIBERT (1955-1991) was a French writer and photographer. A critic for Le Monde, he was the author of some thirty books, most notably To the Friend Who Did Not Save My Life, which presents an intimate portrait of Michel Foucault and played a significant role in changing public attitudes in France towards AIDS. NATHANAËL is the author of a score of books written in English or French, including Sisyphus, Outdone. Her translations include books by Édouard Glissant and Danielle Collobert, among others. Nathanaël lives in Chicago.

On October 27, 2003, Etel Adnan received a postcard from poet Khaled Najar, who she had met in the late seventies. Originally in French, the poems it sparked collapse time, then expand it. War and love intertwine with coffee and bombs, memory and the present, evoking life in non- linear time.

Time continues Etel Adnan's recent series of short meditative works on single themes: Sea & Fog, Night, Surge and now Time, expanding her already rich philosophical and poetic lexicon. This book is a collection of six short works originally written in French.

(June 2019)

Slow Tongue is the debut writing and poetry collection from Olivia Douglass. A verse-essay/lyric essay hybrid examining race, sexuality and the relationship between Black women artists. 'Slow Tongue' is a response to the writings of M. NourbeSe Philips 'She Tries Her Tongue Her Silence Softly Breaks', and works to continue the decolonisation of language and imagery.

Each piece may be taken individually, but it is through looking at their positioning amongst each other that something more comprehensive, provocative and challenging comes together.

Written and designed by Olivia Douglass 
Cover illustration by Jack Tongeman

The Female Complaint is part of Lauren Berlant’s groundbreaking “national sentimentality” project charting the emergence of the U.S. political sphere as an affective space of attachment and identification. In this book, Berlant chronicles the origins and conventions of the first mass-cultural “intimate public” in the United States, a “women’s culture” distinguished by a view that women inevitably have something in common and are in need of a conversation that feels intimate and revelatory. As Berlant explains, “women’s” books, films, and television shows enact a fantasy that a woman’s life is not just her own, but an experience understood by other women, no matter how dissimilar they are. The commodified genres of intimacy, such as “chick lit,” circulate among strangers, enabling insider self-help talk to flourish in an intimate public. Sentimentality and complaint are central to this commercial convention of critique; their relation to the political realm is ambivalent, as politics seems both to threaten sentimental values and to provide certain opportunities for their extension.

Pairing literary criticism and historical analysis, Berlant explores the territory of this intimate public sphere through close readings of U.S. women’s literary works and their stage and film adaptations. Her interpretation of Uncle Tom’s Cabin and its literary descendants reaches from Harriet Beecher Stowe to Toni Morrison’s Beloved, touching on Shirley Temple, James Baldwin, and The Bridges of Madison County along the way. Berlant illuminates different permutations of the women’s intimate public through her readings of Edna Ferber’s Show Boat; Fannie Hurst’s Imitation of Life; Olive Higgins Prouty’s feminist melodrama Now, Voyager; Dorothy Parker’s poetry, prose, and Academy Award–winning screenplay for A Star Is Born; the Fay Weldon novel and Roseanne Barr film The Life and Loves of a She-Devil; and the queer, avant-garde film Showboat 1988–The Remake. The Female Complaint is a major contribution from a leading Americanist.

Unsorcery composes and explores ways of sorcery that can eventually surpass or undo some of the contemporary realities and subjectivities. It is an Artworld involved in a productive alienation from concepts through experience and from experience through thought. Unsorcery is an environment in which Alina Popa and Florin Flueras were working together, each following their own path, doing their own practices, texts and performances around the concepts: Life Programing, Artworlds, Black Hyperbox, Second Body, Dead Thinking, End Dream.

The Dimensions of Difference departs from traditional takes on feminist film criticism, and in particular from the psychoanalytical focus on the gaze, to examine the question of sexual difference through three axes: space, time, and bodies. These are some of the most fundamental elements of cinema, which deploys the bodies of actors through space and time, for instance, through camerawork and editing. While this approach may not at first sight seem to be related to questions of gender and sexuality, Caroline Godart demonstrates its relevance to feminist film studies by weaving together careful analyses of space, time, and bodies in women's cinema with close readings of the same concepts in the works of three philosophers: Luce Irigaray, Henri Bergson, and Gilles Deleuze. The book investigates how certain films generate a cinematic experience of sexual difference, and frames this analysis within a careful philosophical inquiry into the notion of alterity itself. These tools provide fruitful resources for feminist inquiry, giving insights into sexual difference as it operates within film aesthetics and, beyond cinema, in the world at large. The result is a compelling reflection on feminism, film form, and continental philosophy.

Winter 2019. SLEEP.

Contributions by: NAVILD ACOSTA, CLAY AD, MANDISA APENA, KHAIRANI BAROKKA, LINDA BESNER, LEAH CLEMENTS, PENNY GORING, LEWIS HAMMOND, ELAINE KAHN, GARETH DAMIAN MARTIN, LIV MENDEZ, BELLA MILROY, EILEEN MYLES, PRECIOUS OKOYOMON, LAUREN O’NEILL, RUTH PILSTON, HANNAH QUINLAN & ROSIE HASTINGS, FANNIE SOSA, ROMILY ALICE WALDEN, IAN WOOLDRIDGE and ANNA ZETT

This book marks the ten-year anniversary of the project A Collective Memory by Azin Feizabadi. The project encompasses five narrative-driven films, alongside other artworks. Each film has its own urgency, approach, and point of departure. The films naturally vary in their subjects, they touch upon stories of migration, uprising, transformation, revolution, renewal, collapse, defeat, depression, and desire that connect the life of the artist with those around him. The research materials that have come up over the course of this project consist, on the one hand, of concrete historical events and, on the other hand, all the innumerable, fragmented personal memories spread between pats, presents, and futures that narrate every-changing stories of how things were, are, and may be.

Contributors: Jens Maier-Rothe & Ashkan Sepahvand (co-editors)Shahab Fotouhi, Nanna Heidenreich, Sarah Rifky, Rasha Salti, Ashkan Sepahvand, Jan Verwoert, Chiara Figone

In the wake of the 2008 financial crisis, the mysterious Satoshi Nakamoto published a revolutionary white paper that described a simple peer-to-peer electronic cash system that would later become Bitcoin. In the decade since the launch of the digital currency, the nascent blockchain technology behind Bitcoin has been heralded as having the same radical potential as the printing press or the Internet, in particular presenting extraordinary challenges to traditional banking. Yet the paper contains no reference to existing political ideas, monetary or economic knowledge. So here it is.

With the fourth issue of How to Sleep Faster we asked our contributors four interconnected questions: What now is a radicalised, networked, subjectivity? How can we build a commons through and from this subjectivity? Is it self-critical in its understanding of the ‘we’ it talks for? And lastly, how do, and how must, these subjectivities engage with globalised material realities?

At root, the exploration of these ideas — as connected themselves – is about a critique of readings of the network through Multitude. We are looking to think beyond immanence, and look to something else, by asking what ‘something else’ is, or could be.

Contributors: Megan Kelly Rooney, Eleanor Weber, William Kherbek, Hannah Black, Harry Sanderson, Georgina Miller, Paul Kneale, Candice Jacobs, Aimee Heinemann, Ann Hirsch, Harry Burke, Rosa Aiello, John Bloomfield, Maja Malou Lyse (Boothbitch), Holly White, Martina Miholic, Felix Petty, Huw Lemmey, Julian Molina, Rachel Schofield Owen, Charlie Woolley, Jesse Darling, KERNEL.

Rozsa Farkas, Tom Clark (eds).

SKEPTICAL UNCERTAINTIES (false truths & honest lies)

Contributions by Bob Ajar, Pedro Diego Alvarado, Aureliano Alvarado, Sam Basu, Manuela Barczewski, Iphgenia Baal, John Chilver, Paul Philipp Heinze, Thomas Helbig, Jaakko Juhani Karhunen, Paul Johnson, George Macbeth, Christoph Meier, Sascha Mikloweit, Mocellin Pellegrini, Pages, Tomas Rydin, Adam Rompel, Fiona Sarison, Barry Sykes, Eleanor Vonne Brown, Markus Vater. Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between ten to thirty contributors.

The Dream of a Common Language explores the contours of a woman s heart and mind in language for everybody language whose plainness, laughter, questions and nobility everyone can respond to.