Frustration, inflammation, licences commerciales, torture et choux qui accouchent. Ça commence mal à Montreuil. Et ça finit dans le Kentucky. Là où tout a vraiment commencé.
How To Become est une maison d'édition autogérée basée à Paris. Nous publions les textes d'auteuces engagés dans des pratiques féministes et peu diffusés par le réseau des grandes maisons d'édition françaises.
Créée en 2016, elle est composée d'artistes et écrivaires en majorité gouines, HTB publie de la litterature expérimentale née d'influences post-post- sapphiques ainsi qu'un choix de tradu d'auteuices non traduites en langue française. HTB s'articule autour d'ateliers d'écriture: How to Become a Lesbian, et d'une revue annuelle publiant les choses issues de l'atelier.
Esther De Soomer, Rudolph Glitz
Terra Nova combines fragments from a novel in the making by Esther De Soomer, in which she explores the parallels between the loss of language and forest dieback, between climate grief and linguistic mourning. Reflecting on her own relationship with language and multilingualism, she traces the feelings of grief that accompany the loss of German, one of her mother tongues. Drawing on existing narratives — such as fairy tales and family stories — she examines the critical state of the disappearing Hambacher Wald in Western Germany and presents language as a means to name and hold on to things.
Chloé Delchini, Justine Gensse and 2 more
Founded in 2023, A4 is a poetry review which showcases and explores contemporary writings practices. Run by Littérature Supersport collective, the object is seen as the extension of their events. The review takes the form of 4 postcards which, when placed side-by-side, form an A4-sheet. A light (even precarious) format for literature that slips into the back pocket of pants and hangs on fridge doors. Each issue features unpublished texts by 4 authors. Wrapped in colors, A4 is distributed by post and available in good bookshops, in Brussels, Liège, Paris and Marseille.
This second issue presents texts by : Chloé Delchini, Justine Gensse, Simon Johannin and Jérôme Poloczek.
Steak Zine is the new issue of Cake Zine. Cake Zine is a literary print magazine exploring art, history, and pop culture through food.
For this pocket-sized special issue, Cake Zine is setting off into carnivorous territory. Serving up 208 pages of non-fiction and fiction exploring the cultural impact of red meat, including:
The last days of Acropolis, Portland’s beloved strip club-steakhouse, by Sophia June
A profile on the women going viral by eating raw meat online by Ella Quittner
A night at a fictionalized steakhouse kaleidoscoped through the roles of maître d’, bartender, server, chef, and guest, by Leah Abrams, Isle McElroy, Lillian Fishman, Stephanie Wambugu, and Hannah Kingsley-Ma
Examinations of the enduring escapism of Outback Steakhouse and Fogo de Chão by Ruby Robina Saha and Adam Dalva
A trip through Nebraska to trace how historic stockyard closures in the late 1990s have affected those serving up beef in the Beef State, by Jamal Dauda
A wistful look back at a romance fueled by ribeye and red leather booths, by Emma Specter
NDA-risking testimony from a lab tech at a plant-based food start up who went from vegetarian to carnivore in the noble name of research, by AUTHOR REDACTED
Tracing the roots and uncertain future of Hong Kong’s sizzling steak by Madeline Leung Coleman
Plus the steak heists prompting retailers to put meat behind lock and key, the body horror of cannibalist cinema, revisiting molecular gastronomy’s embrace of meat glue, the social tensions behind ordering well-done meat, the trauma of growing up on an Australian cattle ranch, and much more.
First edition of the Engagement Arts Zine.
Published May 2019
Making a fanzine is an act of rebellion, even more so if it is published and produced by a woman. The grrrls of today use them to inspire countless young people around the world, to take control of their lives and to create their own culture. These homemade publications are a quick and cheap way to spread their ideas and dismantle the usual stereotypes. Traditionally hand-drawn, photocopied, and stapled together, the format of fanzines are now as diverse as their subject matter, with online platforms and social networks fast becoming the norm. The fanzine is more alive than ever!
Gemma Villegas runs her graphic design studio based from Barcelona. She works in close dialog with commissioners and collaborators on a broad range of projects, including visual identities, exhibitions, publications, and digital platforms, overseeing the creative process during all the phases of a project. Her work is characterized by a fresh and powerful visual language focused on detail with special attention to typography.