Love and Money, Sex and Death: A Memoir

One of America's most historic political trials is undoubtedly that of Angela Davis. Opening with a letter from James Baldwin to Davis, and including contributions from numerous radicals such as Black Panthers George Jackson, Huey P. Newton, Bobby Seale and Erica Huggins, this book is not only an account of Davis's incarceration and the struggles surrounding it, but also perhaps the most comprehensive and thorough analysis of the prison system of the United State.  

Since the book was written, the carceral system in the US has seen unprecedented growth, with more of America's black population behind bars than ever before. The scathing analysis of the role of prison and the policing of black populations offered by Davis and her comrades in this astonishing volume remains as pertinent today as the day it was first published.  

Featuring contributions from George Jackson, Bettina Aptheker, Bobby Seale, James Baldwin, Ruchell Magee, Julian Bond, Huey P. Newton, Erika Huggins, Fleeta Drumgo, John Clutchette, and others.

It was 1969, and temperatures were rising across the factories of the north as workers demanded better pay and conditions. Soon, discontent would erupt in what became known as Italy’s Hot Autumn. A young worker from the impoverished south arrives at Fiat’s Mirafiori factory in Turin, where his darker complexion begins to fade from the fourteen-hour workdays in sweltering industrial heat. His bosses try to withhold his wages. Our cynical, dry-witted narrator will not bend to their will. “I want everything, everything that’s owed to me,” he tells them. “Nothing more and nothing less, because you don’t mess with me.”

Around him, students are holding secret meetings and union workers begin halting work on the assembly lines, crippling the Mirafiori factory with months of continuous strikes. Before long, barricades line the roads, tear gas wafts into private homes, and the slogan “We Want Everything” is ringing through the streets.

Wrought in spare and measured prose, Balestrini’s novel depicts an explosive uprising. Introduced by Rachel Kushner, the author of the best-selling The Flamethrowers, We Want Everything is the incendiary fictional account of events that led to a decade of revolt.

Translated by Matt Holden
Introduction by Rachel Kushner

The Salvage Editorial Collective on the Covid-19 crisis.

Including: ‘Mothering Against the World' by Sophie Lewis on ‘Momrades’, ‘The Bushes’ a new fiction by China Miéville, ‘Hookers and Other Angels’ photography from Juno Mac, ‘Prepared for the Worst’ by Richard Seymour on Disaster Nationalism, ‘Welfare State Populism and the “Left-Behind Left”’ by Kevin Ochieng Okoth, ‘A Glimmer of a Shell of a Husk’ by Maya Osborne; ‘The Phallic Road to Socialism’ by Sebastian Budgen; A newly translated interview with Daniel Guérin, ‘Nationalism After Coronavirus’ by Sivamohan Valluvan, ‘Striking in Striking Times: Capitalism’s Coronavirus Crisis’ by Gregor Gall, ‘Getting Dressed for a Pandemic’ by Camila Valle, ‘Out of the Iron Lung: A Miasma Theory of Coronavirus’ by Matthew Broomfield.

Poetry by Nisha Ramayya, this issue’s featured poet, and an interview with her conducted by Salvage poetry editor, Caitlín Doherty. Plus the return of the Salvage Editorial Collective perspectives pamphlet, and a postcard.

Salvage is a bi-annual journal of revolutionary arts and letters. Salvage is written by and for the desolated Left, by and for those sick of capitalism and its planetary death-drive, implacably opposed to the fascist reflux and all ‘national’ solutions to our crisis, committed to radical change, guarded against the encroachments of ‘woke’ capitalism and its sadistic dramaphagy, and impatient with the Left’s bad faith and bullshit.

Published June 2020

Futurefarmers, Berlinde De Bruyckere, City Report Sofia, McKenzie Wark, Koyo Kouoh, Bas Smets, Aglaia Konrad, Hugo Roelandt, Candice Breitz, Otobong Nkanga, Sharjah Biennial, Charlie Porter, Subversive Film, 019, Emmanuel Van der Auwera.

Sticky Fingers' Fortune Teller features wisdom from McKenzie Wark, Octavia E. Butler, Kate Zambreno, bell hooks, Clarice Lispector, Eileen Myles, Kathy Acker, Johanna Hedva, Lou Sullivan, Audre Lorde, June Jordan, and Anne Boyer.⁣

A3, single colour risograph

The first issue of the magazine made by artists, founded by Donatien Grau and Thomas Lenthal. Contributions by Mathias Augustyniak, Naomi Campbell, Théo Casciani, Michael Chow, Pan Daijing, Es Devlin, Claire Fontaine, Edwin Frank, Theaster Gates, Nicolas Godin, Alejandro Jodorowsky, Hedi El Kholti, Michèle Lamy, Paul McCarthy, Ian McEwan, Eileen Myles, Marc Newson, Hans Ulrich Obrist, Diana Widmaier Picasso, Ariana Reines, Barbara Chase-Riboud, Julian Schnabel & Jason Momoa, Hanna Schygulla, Juergen Teller, Iké Udé, McKenzie Wark, Robert Wilson, Yohji Yamamoto.

Alphabet is the artists' magazine. Here, they run the show. They write, they make images, they select their own works, they interview the figures they admire, they tell us what we did not know about them nor could have ever fathomed about life. This magazine is conceived entirely to put them in the driver's seat, and to enable readers to become part of the unique vision of some of today's greatest luminaries.

It is a manifestation of the creative community, coming together from all fields, from all generations and threads of culture. Writers, musicians, designers, painters, sculptors, poets—artistic figures of every kind converse all the time in their lives, but they did not have a shared space for their editorial projects. This is it.

Everyone who finds their way into Alphabet has made a mark on life, art, and culture, in a way that signals their importance to the present. Some of the contributors may be world famous, others well respected, others on the way to becoming the legends they already are. Their relevance to culture is the same, and that is why they all belong here, in the endeavor of the creative community. There is no hierarchy of status, or domain, or apparent impact. Some of the greatest revolutions happen undercover. Some of the most established voices are still breaking ground. The magazine's premise is simple: the old opposition between pop and underground does not make sense anymore. There are many creative communities, each following its own rules, each inventing its own space. Here, wherever they come from, whatever their community, artists can exist together, with the same intention of changing, and improving, what life is; with the same belief that art matters more than anything else.

None of the contributors is here randomly. They keep life thrilling and exhilarating, challenge the perception of everything and anything. Their role in shaping every aspect of life can hardly be overstated. That is why they needed a place to elaborate their own alphabet, their way of ordering and structuring language, the world, and the fabric of life—a place of freedom, where everything would be done to highlight their visions, where the very design would be a shrine to their magic. Even the distribution of the magazine was conceived with artists—each contributor suggesting sites of their liking.

Alphabet is also the magazine of magazines. Here, readers find essays, fictions, poetry, visual projects, DIY methods, recommendations from those who know, even games and astrology—and an artist's alphabet, articulating an entire universe. Anything that has ever formed a section of a magazine could find its way here. Even the cover is conceived by an artist: it was conceived especially by the legendary Robert Wilson. Artists will rejuvenate what magazines are, and magazines will be kept forever young by and with them.

Founded by Donatien Grau and Thomas Lenthal, Alphabet is a bi-yearly art magazine. Not a magazine about art. It's a magazine made by artists. Each contribution like an œuvre, making it the ultimate collector piece. Each cover is designed, with the word Alphabet, by a different artist, initiating a cult series.

Inspired by visionaries like Moses, William Blake, and Joseph Smith, Bellamy spent five months in 2009 receiving transmissions from her television set and writing brief commentaries on each. The sutras and commentaries in the present volume are the beginning of an intensive investigation into the nature of religious experience. What are cults? Are they limited to wacko marginal communities, or do we enter one every time we go to work or step into a polling place? What is charisma and why are we addicted to it? Bellamy speaks candidly and intimately to her own experience as a woman, a writer, and former cult member. This commingling of memoir, fiction, collage and essay makes room for horny gurus, visitors from outer space, the tenderness of group life, and maybe the beginnings of a hard-won individualism.

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life.

In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to How do you throw a brick through the window of a bank if you can’t get out of bed? It was not long before this essay, “Sick Woman Theory”, became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism—a system that limits our worth to the productivity of our bodies—we must reach for the revolutionary act of caring for ourselves and others.

How to Tell When We Will Die expands upon Hedva’s paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal—from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America’s byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness—relying on and fueling ableism—to the detriment of us all.

With the insight of Anne Boyer’s The Undying and Leslie Jamison’s The Empathy Exams, and the wit of Samantha Irby, Hedva’s debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive.