Margaret Mead Made Me Gay: Personal Essays, Public Ideas

Throughout this book-length poem, Simone White considers the dynamics of contemporary black feminist life, attesting to the narrative complexities of writing and living as a black woman and artist.

In Or, on being the other woman, Simone White considers the dynamics of contemporary black feminist life. Throughout this book-length poem, White writes through a hybrid of poetry, essay, personal narrative, and critical theory, attesting to the narrative complexities of writing and living as a black woman and artist. She considers black social life—from art and motherhood to trap music and love—as unspeakably troubling and reflects on the degree to which it strands and punishes black women. She also explores what constitutes sexual freedom and the rewards and dangers that come with it. White meditates on trap music and the ways artists such as Future and Meek Mill and the sonic waves of the drum machine convey desire and the black experience. Charting the pressures of ordinary black womanhood, White pushes the limits of language, showing how those limits can be the basis for new modes of expression.

Light in the Dark is the culmination of Gloria E. Anzaldua's mature thought and the most comprehensive presentation of her philosophy. Focusing on aesthetics, ontology, epistemology, and ethics, it contains several developments in her many important theoretical contributions.

In The Hundreds Lauren Berlant and Kathleen Stewart speculate on writing, affect, politics, and attention to processes of world-making.

The experiment of the one hundred word constraint, each piece is one hundred or multiples of one hundred words long, amplifies the resonance of things that are happening in atmospheres, rhythms of encounter, and scenes that shift the social and conceptual ground.

What's an encounter with anything once it's seen as an incitement to composition? What's a concept or a theory if they're no longer seen as a truth effect, but a training in absorption, attention, and framing? 

The Hundreds includes four indexes in which Andrew Causey, Susan Lepselter, Fred Moten, and Stephen Muecke each respond with their own compositional, conceptual, and formal staging of the worlds of the book.

While the stock image of the anarchist as a masked bomber or brick thrower prevails in the public eye, a more representative figure should be a printer at a printing press. In Letterpress Revolution, Kathy E. Ferguson explores the importance of printers, whose materials galvanized anarchist movements across the United States and Great Britain from the late nineteenth century to the 1940s. Ferguson shows how printers—whether working at presses in homes, offices, or community centers—arranged text, ink, images, graphic markers, and blank space within the architecture of the page. Printers' extensive correspondence with fellow anarchists and the radical ideas they published created dynamic and entangled networks that brought the decentralized anarchist movements together. Printers and presses did more than report on the movement; they were constitutive of it, and their vitality in anarchist communities helps explain anarchism’s remarkable persistence in the face of continuous harassment, arrest, assault, deportation, and exile. By inquiring into the political, material, and aesthetic practices of anarchist print culture, Ferguson points to possible methods for cultivating contemporary political resistance.

In Juggling , Stewart Lawrence Sinclair explores the four-thousand-year history and practice of juggling as seen through his life as a juggler. Sinclair—who learned to juggle as a child and paid his way through college by busking—shares his experiences of taking up juggling after an episode of suicidal ideation, his time juggling on the streets, and ultimately finding comfort in juggling during the COVID-19 pandemic. In many ways, this is a book about loss and recovery. From his own juggling story to clowns braving military checkpoints in Bosnia and Rwanda to perform in refugee camps to contemporary avant-garde performances, Sinclair shows how the universal language of juggling provides joy as well as a respite from difficulties during hard times.

In this genre- and gender-breaking work of theory-fiction, legendary writer and cofounder of the 1970s French feminist movement Monique Wittig celebrates the body—lesbian, literary and defiantly political—and challenges the order of heterosexuality in literature. 

First published in French in 1973, The Lesbian Body mines the relationship between a lover and a beloved—also a writer and a text—to explore the ideological and historical constructions of the female subject. Organized according to the principle of montage, poetic passages are juxtaposed with anatomic lists that mark lesbian eros. Through expressions of joy, violence, and tenderness, the site of pleasure is celebrated. In her transfiguration of gender and its paradigms, Wittig transformed French vocabulary, feminizing grammar and lesbianizing myths. This edition brings the English translation of Wittig’s groundbreaking work back into circulation for the first time since the mid-1980s, revised according to the author's notes, and with an introduction by Paul B. Preciado.

“The Lesbian Body is a fundamental work of lesbian existence. Wittig's applied vision is a state of natural delirium, a revolutionary excess of utopianism, refusal, and mutual self-creation. Revisiting it reveals how much passionate free thought has been lost, and simultaneously, how many of her tropes and discoveries have integrated into our collective consciousness.” — Sarah Schulman

“In this stunning new rendering of The Lesbian Body by the French author, theorist, activist and teacher, the late Monique Wittig, we are plunged into an imagined world of passionate violence and erotic lesbian mayhem intertwined in strikingly bold poetic images. Wittig, in the reach and volatility of her imagination, stands alongside such important American writers as Audre Lorde, Adrienne Rich, and Valerie Solanas, all of whose work deserves to be read again, or for the first time.” — Esther Newton

“To read the book is to be forced by Wittig into another grammar and happily contaminated by its strange forms. You will never think straight again.” — Jack Halberstam

“For me, Wittig opened up a sense of the world that had been, quite literally, unimaginable. She tore us apart.” — Judith Butler

“Together with Ursula Le Guin and Samuel R. Delany, Wittig is the first to design a nonbinary utopia, a world in which the binary categorization of sexes and genders will have ceased to exist.” — Paul B. Preciado

Introduction by Paul B. Preciado
Translated by David Le Vay

Featuring the photography of BENJAMIN FREDRICKSON 👅 

This issue of SISSY ANARCHY brings together an incredible cohort of sissies; who give up their environment, their daily encoded stances, to define with me here — in what has become such a tender edition of SISSY ANARCHY — a world where boundaries are stretched and obliterated.

Contributions featuring Imogen Cleverley, Joel Dixon, Donna Marcus Duke, Benjamin Fredrickson, Jordan Hearns, Misha Honcharenko, Ian Ivey, Hesse K, Mayah Monet Lovell, Sam Moore, D Mortimer, Barney Pau, L Scully, Pissed Off Trannies, Ailo Villan, Lee Rae Walsh

Founding Editor: Pierce Eldridge
Design: Caitlin Mcloughlin

This collection of essays celebrates the work of international feminist filmmakers from the 1950s to the present. Featuring contributions from leading scholars, filmmakers, essayists and activists, On Feminist Films is the second volume in the South London Cultural Review series. Contributors include: Stuart Bell, Catherine Grant, So Mayer, Louisa Wei, Emma Wilson.