Self-portrait

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Waiting at Martinique Aimé Césaire International Airport, in the city of Le Lamentin, Mayra A. Rodríguez Castro browses the airport kiosk. Alongside books by Césaire, it offers titles by Frantz Fanon, Maryse Condé and Patrick Chamoiseau. She picks up a copy of Nègre je suis, nègre je resterai, a conversation between Françoise Vergès and Césaire published in 2005, and embarks. In Another Sun, Rodríguez Castro and Vergès revisit that seminal conversation, resulting in an eclectic text shaped by ongoing struggles.

In 2005, Françoise Vergès published a book with Aimé Césaire, in which she recorded – three years before his death – powerful remarks by the poet, as incisive and combative as ever, yet imbued, as always, with the universal humanism to which he had remained committed throughout his life. It is fortunate that, drawing inspiration from this interview, Another Sun allows us to hear, in their intertwining, the voices of Césaire and Vergès herself, conveying a message of emancipation and fraternity/sorority that our world needs to hear today. —Souleymane Bachir Diagne

With poems by Danielle Legros Georges, Wole Soyinka, Ishion Hutchinson, Clarisse Baleja Saïdi, Aimé Césaire and Jean Érian Samson.

Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion, told through a decade of artistic and activist practice. The writing is a mode of recovery, it is pre-content shared to encourage open processes in art, thinking and action.

Georgia Sagri (born Athens, 1979) lives and works in Athens and New York. Her practice is influenced by her ongoing engagement in political movements and struggles on issues of autonomy, empowerment and self-organisation. From 1997 to 2001 she was a member of Void Network, a cultural, political and philosophical collective operating in Athens. In 2011 she was one of the main organisers of the Occupy Wall Street movement in New York. Since 2013 she has been a member of the assembly of the Embros Theatre Occupation, and in 2014 she initiated Ύλη[matter]HYLE, a semi-public cultural space in the heart of Athens. She is professor of performance at the Athens School of Fine Arts.

Darryl Cook is a cuckold, and that’s exactly how he likes it. He has an inheritance that spares him from work, a manageable and seemingly consequence-free drug habit, and a lovely wife called Mindy who’s generally game for anything—and for as much of it as she can get. But after an accidental overdose and some serious oversharing, Darryl’s world begins to crack up. Tormented by what seems to be the secret truth in sex, and less assured of that secret’s form, Darryl steps into what used to be called real life . . . Darryl is a disarmingly funny and unabashedly intelligent look at a community of people parsing masculinity, marriage, sex (and love) on their own terms.

Underneath the sharp satire and hilarious sexual irreverence this is a deadly serious book: a brilliant novel of a seeker, like The Pilgrim’s Progress refracted by queer internet culture. —Torrey Peters

Ess is what I might call a burgeoning cult literary figure, armed with an unmistakable lyric deadpan and a taste for provocative subject matter. — Stephen Ira, Poetry Project

What Darryl is looking for is a crisis of sufficient severity that it will cause him to feel real to himself. — Dominic Fox, Review 31

In moderate physical decline, and with an immoderate weed habit, the novelist Dunja Anko returns home to the Adriatic coast to play detective and solve the mystery of her brother’s death. The going is arduous, the people inscrutable; her old friends have had years to forget – or to convince themselves they don’t remember. Dunja must contend with desire and disgust, curiosity and fear, as she begins to doubt her reasons for returning. Elegantly plotted, funny and self-reflexive, Flood Tide is a psychologically deft exploration of the trauma wrought by human limitation and indecision.

"A dazzling mix of narrative styles (even genres), a linguistic rollercoaster, and a book that demands both close attention and literary sensibility . . . The reader is hooked." — Boštjan Videmšek

"Mysterious, precise and haunting, Flood Tide suggests that every homecoming is a return to a crime scene." — Chris Kraus

Ana Schnabl (b. 1985) is a Slovenian writer and editor. She writes for several Slovenian media outlets and is a monthly columnist for the Guardian. Her collection of short stories Razvezani (Beletrina, 2017) met with critical acclaim and won the Best Debut Award at the Slovenian Book Fair, followed by the Edo Budiša Award in Croatia; the collection has been translated into German and Serbian. Three years later Schnabl published her first novel Masterpiece (Mojstrovina, Beletrina, 2020). She toured Europe with the English, German and Serbian translations of the book, which included a residence in the Museumsquartier in Vienna, the Literarisches Colloquium Berlin, and the first European Writer’s Festival in London. The novel was given favourable reviews and mentions in numerous Austrian, German and English media, and was longlisted for the Dublin Literary Award. Her second novel Flood Tide (Plima, Beletrina, 2022) was nominated for the Slovenian Kresnik Award. Her third novel September (Beletrina, 2024) won the Kresnik Award in 2025.

Rawley Grau has been translating literary works from Slovenian for over twenty years, including by such first-rate novelists as Dušan Šarotar, Mojca Kumerdej, Sebastijan Pregelj, Gabriela Babnik and Vlado Žabot. Six of his translations have been longlisted for the Dublin Literary Award, while his translations of Šarotar’s Panorama and Billiards at the Hotel Dobray were shortlisted for the Oxford-Weidenfeld Translation Prize. He has also translated poetry by Miljana Cunta, Miklavž Komelj, Janez Ramoveš and Tomaž Šalamun, among others. In 2021, he received the prestigious Lavrin Diploma from the Association of Slovenian Literary Translators. Translations from other languages include A Science Not for the Earth: Selected Poems and Letters by the Russian poet Yevgeny Baratynsky, which received the AATSEEL prize for best scholarly translation, and, co-translated with Christina E. Kramer, The Long Coming of the Fire: Selected Poems by the modernist poet Aco Šopov, which won the 2025 International Dragi Award for best translation from Macedonian. Originally from Baltimore, Maryland, he has lived in Ljubljana since the early 2000s.

Dear Miss Maxfeld . . . What I’m really afraid of is that I am a homosexual human being. I wish you were one too but I don’t think it’s possible there could be so many in one school, do you? Probably there is only one person who is homosexual in one place at one time and that one person (I am afraid) is me . . .

After sixteen-year-old Lynn writes her thirty-seven-year-old English teacher a letter they embark on one of the funniest and saddest love affairs in fiction, shrouded in secrecy and guilt. Set in the year Kennedy was shot, all Lynn knows about “lezbos” is that they wear their hair in crew cuts, buy suits like her father’s, and sprout mustaches over their upper lips. Trying to pass, Lynn continues to neck with her boyfriend and make bigoted jokes with her friends. Feigning innocence with her parents, each night she checks the mirror for tell-tale signs of perversion. Profound, witty, poignant, and highly charged, In Thrall is the first in Jane DeLynn’s trilogy of novels on sexuality and authority. It is as believable in its depiction of a closeted teen as it is heartbreaking.

With an introduction by Colm Tóibín

Flawless comic timing. —Colm Tóibín, from the Introduction

All Lynn’s phobias, aversions and hang-ups make her exaggerated but real . . . The great triumph of this novel is that DeLynn has captured the way adolescents felt, talked, and behaved during the early 1960s. —San Francisco Chronicle

A dazzlingly gritty exposure of a girlhood experience usually neglected by both private and public consciousness. —Reba Maybury

Critical conversations and reflections about lessons learned at the intersection of social movements and artist production. 

Diversity of Aesthetics collects powerful and timely conversations among leading cultural critics, artists, and organizers to connect the threads between some of the most pressing social struggles and conflicts of our time: policing, war, borders and migration, economic crisis. 

Across three themes—infrastructure, migration, and riots—militant thinkers, artists, educators, and others discuss aesthetic production, forms of social organization, modes of struggle against gendered and racialized capitalism, and revolutionary theory. Common to all three conversations is a commitment to rethinking the relationship between forms of critique and forms of struggle undertaken by collective social practices, offering lessons for tactics, strategies, and practices.

With contributions by Claire Fontaine, Iman Ganji, Saidiya Hartman, Vicky Osterweil, Andreas Petrossiants, Christina Sharpe, Stevphen Shukaitis, Michael Rakowtiz, Shellyne Rodriguez, Jose Rosales, Rinaldo Walcott, Andreas Petrossiants, Jose Rosales

Andreas Petrossiants is a writer and associate editor of e-flux journal. His work has appeared in Historical Materialism, Social Text, New Inquiry, AJ+ Subtext, Frieze, Bookforum.com, Roar Magazine, the Verso blog, the Brooklyn Rail, Hyperallergic. He is a PhD candidate in performance studies at NYU where he is researching anti-eviction, squatting, and tenants’ movements as they relate to the production of social space.

Jose Rosales is an independent researcher and journalist based in Lisbon, Portugal. His work has appeared in e-flux notes, Lumpen: A Journal of Poor and Working Class Writers, and has contributed a chapter called “Communism As the Riddle Posed to History” in Double Binds of Neoliberalism (2022).

In the tradition of poets such as Charles Olsen, Alice Notley and Sappho, Allison Grimaldi Donahues poetry connects the history of breath and language with narratives about the discovery and loss of our own voice.

The Etruscan language knew no blank spaces, no breaks between words—its texture resembled an uninterrupted flow of speech; more singing than speaking, form rather than content. Only in the dictum of the pause, the meaningful fragmentation of the breath and the staccato of the Atemwende (Paul Celan) does language become comprehensible rhythmic expression.

In a world full of slogans and catchphrases, Allison Grimaldi Donahue defends the poetological demand of Sound over Content! The History of Breathing weaves linguistics and poetry, verse and song, meaning and sound into a dense narrative about breathing, rhythm, and the gaps in language that allow words to take on meaning in the first place.

Allison Grimaldi Donahue (born 1984 in Middletown, Connecticut, USA, lives and works in Bologna, Italy) works in text and performance exploring modes in which language and text can move between individual and collective experience. She is author of Body to Mineral and On Endings, and translator of Blown Away by vito m. bonito and Self-portrait by Carla Lonzi. She has given performances at Short Theatre, Almanac Turin, MACRO, MAMbo, Fondazione Giuliani, Kunsthalle Bern, Hangar Biccoca, and Flip Napoli.

Le cinquième numéro de la revue d'art et de recherche « rétro-prospective » est consacré à l'artiste et performeuse Andrea Fraser, figure clé de l'art des années 1990 et 2000 et du courant de la « critique institutionnelle » (une monographie complétée par une grande enquête sur l'espace critique réalisée auprès d'une cinquantaine d'artistes, critiques et philosophes internationaux).

Avec contributions de Kader Attia, Eva Barto, Sophie Bonnet-Pourpet, Marie de Brugerolle, Gregory Buchert, Daniel Buren, Marie Canet, Gregory Castéra, Inès Champey, Thierry Chancogne, Claire Fontaine, François Cusset, Judith Deschamps, Paul Devautour, Philippe Durand, Joao Enxuto & Erica Love, Andrea Fraser, Nicolas Frespech, Dora García, Romain Grateau, Emmanuel Guez, Thomas Hirschhorn, Aliocha Imhoff & Kantuta Quirós, Béatrice Josse, Franck Larcade, Ju Huyn Lee, Sven Lütticken, Fabrice Mabime, Bartomeu Mari, Chus Martínez, Gwenael Morin, Claire Moulène, Jean-Luc Moulène, Yan Moulier Boutang, Vincent Normand, François Pain, Gerald Petit, Anne Querrien, Thierry Raspail, Sinziana Ravini, Delphine Reist & Laurent Faulon, Christophe de Rohan Chabot, Phillippe Roux, Jean-Baptiste Sauvage, Thomas Schlesser, Ida Soulard, Fabien Steichen, Michel Surya, Emmanuel Tibloux, Vier 5, Ulf Wuggenig, Italo Zuffi.