Vanus

Sophie T. Lvoff revient avec « The Prime Times, Volume 2 » à l'occasion de la fin de sa résidence aux ateliers de la ville de Marseille, bye, bye! Au travers de poèmes en haïku, de gros titres et de photographies de son atelier traversé par la lumière du jour au milieu de l’après-midi, le journal chronique la torpeur des longues journées de travail mêlées d’attente, de glimpses et de glances. En attendant the prime time, Sophie lit les nouvelles sur son téléphone, parcourt paresseusement sa bibliothèque, écrit des emails à des amix éloigné·es et parfois à elle-même. Elle note des blagues et des poèmes dans son cahier, mange des snacks, doute d’elle-même, fume, jette des regards autour d’elle, jusqu’au moment précis où la photo doit être prise.

Sophie T. Lvoff is back with « The Prime Times, Volume 2 »! Through haiku poems, headlines, doodles and photographs of her studio pierced by mid-afternoon daylight, the journal chronicles the torpor of long workdays mixed with waiting, glimpses, and glances. While waiting for the prime time, Sophie reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.

Dans « The Prime Times, Volume 1 », Sophie T. Lvoff met en scène sa pratique quotidienne d’atelier. Au travers de poèmes en haïku, de gros titres et de photographies de son atelier traversé par la lumière du jour au milieu de l’après-midi, le journal chronique la torpeur des longues journées de travail mêlées d’attente, de glimpses et de glances. 

En attendant the prime time, Sophie lit les nouvelles sur son téléphone, parcourt paresseusement sa bibliothèque, écrit des emails à des amix éloigné·es et parfois à elle-même. Elle note des blagues et des poèmes dans son cahier, mange des snacks, doute d’elle-même, fume, jette des regards autour d’elle, jusqu’au moment précis où la photo doit être prise.

In « The Prime Times, Volume 1 », Sophie T. Lvoff dramatizes her daily studio practice. Through haiku poems, headlines, doodles and photographs of her studio pierced by mid-afternoon daylight, the journal chronicles the torpor of long workdays mixed with waiting, glimpses, and glances.

While waiting for the prime time, Sophie reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.

Cadavres rassemble 13 poèmes écrits par Phœbe Hadjimarkos - Clarke sur les errances dans les villes âpres, les campagnes humides et les maisons branlantes. Les poèmes sont accompagnés de 15 dessins de Rozenn Voyer.

Licorice Candies collects short stories and poems written during the author’s most experimental and frenzied phase. The backdrop shifts from barren plazas in Buenos Aires to basement parties in Berlin. “I wished that, by continually moving horizontally, in a straight line, my body would touch Germany…that you could reach Berlin from Buenos Aires in a second without any planes that all the coolest cities in the world were each a continuation of the next: Lima, Buenos Aires, Berlin.” The medium through which these desires manifest is the Internet. The Internet—a ubiquitous force that becomes the notebook for the author’s poetry: typo-ridden love letters the grammarless confessions of a polyglot a geography that bends to the author’s will, making everything closer, more intimate.

Translated from Spanish by Jacob Steinberg

During a time of restricted movement, the narrator of Mr Outside visits his reclusive father Thomas who is packing up to move into a care home. As father and son grapple with the task, long-buried conflicts resurface. Thomas, a poet and former radical priest, slips between affection and fear, while the narrator struggles to find the words he’s been holding back. Yet amidst confusion and grief, moments of humour and connection emerge, as both men discover new ways to listen.

Told through a striking combination of text and image, Klaces’ distilled novel explores the stories we tell about our lives, intimacy in crisis, and the fragile line between reality and delusion. Based on the life of his own father, Mr Outside is poignant, profound, and unexpectedly funny; a tender meditation on endings, the limits of understanding, and the act of letting go.

A classic of postmodern fiction, Robert Glück’s Jack the Modernist portrays the slow disintegration of a love affair set in the early 1980s. Bob is excited and lonely. He meets and pursues the elusive Jack, a director who is able to transform others without altering himself. Bob goes to the baths, gossips on the phone, goes to a bar, thinks about werewolves, has an orgasm, and discovers a number of truths about Jack. Out of print for decades, Glück’s paean to desire and obsession explores the everyday in an idiom both intimate and lush. Sensual as well as sensational, self-conscious, but never self-serious, Jack the Modernist is a candid and heartfelt lover’s discourse unlike any other.

The prequel to Love Me Tender, narrating Debré's transformation from affluent career woman to broke single lesbian and writer.

I see all her beauty, I see the beauty of women. I see my own body, new. I tell myself there are so many things that are possible.

First published in France in 2018, Playboy is the first volume of Constance Debré's renowned autobiographical trilogy that describes her decision, at age forty-three, to abandon her marriage, her legal career, and her bourgeois Parisian life to become a lesbian and a writer.

The novel unfolds in a series of short, sharp vignettes. The narrator's descriptions of her first female lovers—a married woman fifteen years older than her, a model ten years her junior—are punctuated by encounters with her ex-husband, her father, and her son.

As Debré recently told Granta: “It was a bit like Saint Augustine and his conversion. In the same week, I had sex with a girl and I had the feeling that I could write. I had this incredible feeling that I could catch things, that life was there to be caught.”

Looking at the world through fresh eyes, the narrator of Playboy questions everything that once lay beneath the surface of her well-managed life. Laconic, aggressive, and radically truthful, she examines gender and marriage, selfishness and sacrifice, money and family, even the privilege inherent in her downward mobility.

Writing her way toward her own liberation, Debré chronicles the process that made her one of the most brilliant, important French writers today.

History and literature seem to be losing ground to the brave new world of electronic media and technology, and battle lines are being drawn between the humanities and technology, the first world and the third world, women and men. Narrator Mira Enketei erases those boundaries in her punning monologue, blurring the texts of Herodotus with the callers to a talk-radio program, and blending contemporary history with ancient: fairy-tale and literal/invented people (the kidnappers of capitalism, a girl-warrior from Somalia, a pop singer, a political writer), connected by an elaborate mock-genealogy stretching back to the Greek gods, move in and out of each other's stories. The narrator sometimes sees herself as Cassandra, condemned by Apollo to prophesy but never to be believed, enslaved by Agamemnon after the fall of Troy. Brooke-Rose amalgamates ancient literature with modern crises to produce a powerful novel about the future of culture.

Christine Frances Evelyn Brooke-Rose was a British writer and literary critic, known principally for her later, experimental novels.