How to Become Irrésistibles

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.

This publication acts as a postscriptum to the exhibition project Through The Valley of The Nest of Spiders by Simon Asencio for SB34—The Pool in Brussels. Dedicated to Samuel R. Delany's sci-fi and sexutopia novel, the exhibition was conceived as a process of annotating the book, expanding on the ethics discussed by the characters of the novel through installation, performative readings and with the complicity of other artists and their works. This devious object pursues such an intertextual process, extending and disseminating the writings forged by the exhibition. 

Cette publication se présente comme le post-scriptum de l'exposition de Simon Asencio Through The Valley of The Nest of Spiders pour SB34—The Pool à Bruxelles. Dédiée au roman de science-fiction et de sexutopie de Samuel R. Delany dont elle porte le titre, l'exposition a été pensée comme un processus d'annotation de ce livre, développant les formes éthiques mises en pratique par les personnages du récit, à travers des installations, des lectures et situations performatives, avec la complicité d'autres artistes. Cet objet interlope poursuit ce processus intertextuel, en prolongeant et disséminant les écritures forgées par l'exposition.

With contributions by / avec les contributions de: Reinhold Aman, Henry Andersen, Simon Asencio, Jen Brodie, Chloe Chignell, Jack Cox, Samuel R. Delany, Diana Duta, Loucka Fiagan, gladys, Stefa Govaart, Sean Gurd, Pauline Hatzigeorgiou, Maxime Jean-Baptiste, Bernard-Marie Koltès, David J. Melnick, Matthieu Michaut, Margaret Miller, LaTasha N. Nevada Diggs, Anouchka Oler Nussbaum, Grisélidis Réal, Páola Revenióti, Sabrina Seifried, Raphaëlle Serres, Valerie Solanas, sabrina soyer, Megan Susman.

A chance encounter with two older fellows at the movie theater has the young vagabond Ligie on his way to Lot-8, a trailer park down the road with an unconventional local reputation. There, Ligie meets Big Joe and his extended Lot-8-family: a tight-knit community of freaks all sectioned together by the landlord at the outskirts of town.

Weaving together colorful characters and outright carnal debauchery, BIG JOE is a radical pastoral of community, desire, and the strangeness of knowing one another.

Featuring color illustrations by Drake Carr and Sabrina Bockler.

Cover illustration by Drake Carr

Samuel R. Delany is the author of numerous books and novels, including the Nebula Award-winning Babel-17 and The Einstein Intersection, as well as Nova (now in a Library of America anthology) and Dhalgren. His 2007 novel Dark Reflections won the Stonewall Book Award. Other erotic novels include Equinox, Hogg, The Mad Man, Throu gh the Valley of the Nest of Spiders, and Shoat Rumblin. Delany was the subject of a 2007 documentary, The Polymath, by Fred Barney Taylor, and he has written a popular creative writing textbook, About Writing. He is the author of the widely taught Times Square Red/Times Square Blue and numerous books of essays; his book-length autobiographical essay, The Motion of Light in Water, won a Hugo Award in 1989. As e-books, paperbacks, or audiobooks, his works are available through his website at: www.samueldelany.com

‘Palestine is everywhere because it names a political subject of radical universal emancipation,’ writes teacher and writer Nasser Abourahme. In Palestine is everywhere, writers, thinkers, poets and artists map the Palestinian struggle for freedom and its global resonances.

Vital dispatches from Gaza, essays, poems, protest chronicles, images and letters from prison reflect upon resistance, solidarity and the right to self-determination. Amid a world-historical moment marked by unknowability and loss, this collection offers essential reading for those interested in Palestinian liberation.

This collection is edited by Skye Arundhati Thomas, with contributions from Alaa Abd El-Fattah, Nasser Abourahme, Amal Al-Nakhala, Muhammad Al-Zaqzouq, Maisara Baroud, Ahmed Bassiouny, Houria Bouteldja, Anees Ghanima, Sahar Khalifeh, Laleh Khalili, Lujayn, Mira Mattar, Lina Meruane, Mohammed Mhawish, Nahil Mohana, Rahul Rao, Nasser Rabah, Adam Rouhana, Ahmad Zaghmouri.

Co-published by TBA21.

All royalties from this project will be donated to Medical Aid for Palestinians (MAP) and The Arab Group for the Protection of Nature (APN).

For Fall 2025, Spike is getting to the bottom of the vintage aura around contemporary culture: Nostalgia. 

Are we doomed to ever-shorter cycles of cash-cow retromania, until AI memory-wipes us with pure simulation? Or is the root problem of our endless déjà vu actually the expectation that art "make it new," itself just so much nostalgia for a long-gone modernism? We're working out what the present owes to the past, if our goal is to conjure a better culture for tomorrow.

Featuring Jeppe Ugelvig's essay on the art world's uses and misuses of nostalgia; Simon Reynolds and Adina Glickstein talk exhausting the past; e-girl/theorist Alex Quicho critiques the end of newness; filmmaker Johan Grimonprez identifies with the hijacker in his dial H-I-S-T-O-R-Y (1997); a portrait of kitsch-savant painter Friedrich Kunath; cultural critic Rosanna McLaughlin on missing the white cube; Artist's Favorites by Diego Marcon; ex-dealers Margaret Lee and Jeff Poe escape the art game; Whitney Mallett on rebranding celebrity through book culture; making analog-ish art "under" the internet with Marc Kokopeli, Bedros Yeretzian, Flora Hauser, and Nicole-Antonia Spagnola; Sean Monahan forecasts our old-fashioned future; art historian Lynn Zelevansky on "New York/New Wave" at P.S.1 Contemporary (1981); artist Maja Bajevic's Yugostalgic report from Sarajevo; and Tea Hačić-Vlahović getting dewy-eyed catching up to her mother's age; plus, reviews of exhibitions by Mark Leckey, Wolfgang Tillmans, Women's History Museum, and more.

Founded by the artist Rita Vitorelli in 2004, Spike (Spike Art Quarterly) is a quarterly magazine on contemporary art published in English which aims at sustaining a vigorous, independent, and meaningful art criticism. At the heart of each issue are feature essays by leading critics and curators on artists making work that plays a significant role in current debates. Situated between art theory and practice and ranging far beyond its editorial base in Vienna and Berlin, Spike is both rigorously academic and stylishly essayistic. Spike's renowned pool of contributing writers, artists, collectors and gallerists observe and reflect on contemporary art and analyse international developments in contemporary culture, offering its readers both intimacy and immediacy through an unusually open editorial approach that is not afraid of controversy and provocation.

the eighth issue of mnemotope is full of sharp, vivid worlds that feel like when google maps zooms in from the satellite to street view. these pieces aren’t necessarily moralistic or allegorical, but instead simply insist that you enter into the moment and place that they conjure sharply into being. each cover is hand-stamped, so graphic placement varies.

Building on the foundations of the first two issues, Synthetic Agencies invites a rethinking [and unthinking] of the assumptions, polarities, and discontents surrounding the notion of agency. Traditionally defined in Western thought as the capacity to act and effect change, agency is inseparable from questions of power and the often invisible structures through which power operates. The various contributions interrogate how agency is produced, constrained, or distributed through the systems of knowledge, design, and governance that shape our built environments, technologies, media, and cultures. They were are invited to right (as much as write on) agency, reflecting on how it operates across different scales and contexts, and imagining alternative worlds or configurations. Ultimately, Synthetic Agencies understands agency not as a fixed attribute but as a contested lens through which we might read, reshape, or resist the conditions of the present.

With contributions by Amine Houari, Driss Ksikes, Fehras Publishing Practices, Hamed Sinno, Helga Tawil-Souri, Lada Hršak, Mayada Madbouly, Myriam Ababsa, Nzinga Biegueng Mboup, Ola Hassanain, Omer Shah, OPPA, Salma Barmani, Samia Henni, Tarek El-Ariss, Zaidoun Hajjar.

F.R.DAVID is a typographical journal, dealing with the organisation of reading and writing in contemporary art practises.

This issue, "Spin Cycle", is concerned with captioning, commentary and description. Edited with Mike Sperlinger.