Books

Encre verte pour tableaux noirs. Vingt-sept poèmes de Timothée Trouche (maître d’hôtel et instituteur) compilés avec la complicité de Teddy Coste (groom et solitaire).

Early Works collects Alice Notley’s first four out of print poetry collections, along with 80 pages of previously uncollected material. A must have for any Notley fan. Includes original collection cover artwork by Philip Guston, Philip Whalen and George Schneeman, among others.

From editor Nick Sturm’s “Introduction” to Early Works:

In the author’s note that begins Grave of Light: New and Selected Poems 1970-2005, Alice Notley writes, “My publishing history is awkward and untidy, though colorful and even beautiful.” I have always been enamored of this sentence, which reminds us that an array of dispersed and varying publishing contexts are the original sites that give shape to such a book’s form. It is also something of an invitation into that color and untidiness, a prompt to become more curious about the awkwardness and beauty of Notley’s publishing history. This book, Early Works, accounts for a significant portion of that history by bringing back into print the complete versions of her first four books, a little-known 22-poem sonnet sequence, and a large selection of early uncollected poems gathered from little magazines. In doing so, Early Works joins an important set of recent volumes that put Notley’s earlier poetry back into circulation, including Manhattan Luck (Hearts Desire, 2014), which collects four long poems written between 1978 and 1984, and Songs for the Unborn Second Baby, originally published by United Artists in 1979 and reissued in a facsimile edition by London-based Distance No Object in 2021. Each in their own way, and especially taken together, these books continue to confirm that, as Ted Berrigan writes in The Poetry Project Newsletter in 1981, “Alice Notley is even better than anyone has yet said she is.”

For our Summer 2026 issue, amid the latest revival of SPIRITUALITY in culture, Spike asked: what are people reaching for beyond what can be measured? The answers are eclectic, emphatic, and most of all personal: Johanna Hedva’s essay about the human voice’s part in the divine; portraits of mystic artists Lee “Scratch” Perry, Natasha Tontey, and Santiago Yahuarcani by Isis Semaj-Hall, Riar Rizaldi, and Miguel A. López; Jamieson Webster’s psychoanalytic look at Renaissance painting’s body of Christ; a spiritual history of perfumes by Élisabeth de Feydeau; Patrick McGraw’s soulful reading of America’s (perhaps) greatest living author, Joy Williams; queries of Gen Z’s search for God by Lamorna Ash, the disappearance of atheism by Steven Phillips-Horst, and a new form of contemplation by Aodhan Madden; and LIFEMAXXING recommendations to purge the soul, sometimes devilishly. Plus, some backpage words of wisdom from Tea Hačić-Vlahović: “Devotion and humiliation are holy.” 

What happens when a two-thousand-year-old language, rooted in a classical poetics of land, is moved, along with its peoples, through colonial and postcolonial upheavals, war and forced or voluntary migrations?

Questioning traditional concepts of  time, place, labour, love, purity and gender, this prismatic collection of poems, translations and transcreations draws connections between ancient Sangam landscapes and North America’s Indigenous lands, and between classical Tamil love poems and Southeast Asian migrant labour songs––tending, with care, the wounded memories of fisher-people, plantation workers, and undocumented refugees.

Our own vazhinool runs through this book: our sense of indebtedness to the lands that hold us, and the lands we hold within us: நெஞ்சநிலம், the landscape of our hearts. It is not without some sense of trepidation that we set it afloat now, across unknown lands and waters, into unknown hands. 

––Nedra Rodrigo & Geetha Sukumaran  (introduction)

Poets & Translators: Aadhavan Dheetchanya, Abi Jeyaratnam, P. Ahilan, Akkini Sugu, Alari, Ammoovanar, Avvaiyar, Cheran, Enbah Nilah, Geetha Sukumaran, Gobiga Nada, V. Iswarya, Jayashree Panniker, Kasro Ponnuthurai, Kalaivani Karunakaran, Leanne Betasamosake Simpson, Nedra Rodrigo, Nillanthan, Rashmy, Regini David, S. Bose, Sathimutha Pulavar, shalan joudry, Subhanya Sivajothy, Subramaniya Bharati, Sukirtharani, Thamilini Jothilingam, Tharmini, Yalini Jothilingam.

Infrastructural systems define our ways of seeing and responding to the world around us. Today, our everyday lives and visual cultures have become saturated by digital communications systems whose physical footprint has been rendered largely invisible from the public sphere.

In an age of ever-expanding computation and a foolish believe in AI’s utopian potential, resistance can seem futile. But if we detach our gaze from increasingly narrow realm of digital imaginaries, a new world of radically different infrastructural opportunities opens up in front of our eyes.

Street libraries, or Minibiebs, as they are called in Dutch, are an under-appreciated piece of urban technology. Part manifesto, part research note, this mini publication dives into the radical potential of public book sharing structures and what they might tell us about our broken information ecosystem. 

Printing: Risograph, Grafische Werkplaats Den Haag; Research and Photography: Livio Liechti; Design: Apsara Flury. 
First print run – May 2025: 35 copies.

"Cet ouvrage est un magazine participatif regroupant les oeuvres de 48 artistes autour d'un thème commun, l'artefact. Vertige du passé ou projection contemporaine, l'artefact nous parle. Il raconte les cultures, en façonne le souvenir et promet ainsi un voyage à travers les créations humaines. Ce sont ces témoignages tangibles de l'existence que nous souhaitons vous offrir grâce aux interprétations captivantes de l'artefact. Chaque page de ce nouveau numéro est une invitation à plonger dans les méandres de l'histoire ou de la fiction, à explorer les différentes strates de l'humanité à travers le primes de ses réalisations matérielles."

Alexandre Daram, Alice Royer, Audrey Poujoula, Audrey Ramos, Basile, Bordel j’ai glissé, Cel, Charlie Udave, Collectif IPN, Elliott Sanchez, Emilia Pesty, Marie Derrien, Fils Kurylak, Flora Rushiti, Hélène Berlemon, Inès Day, Julie Plantefeve, Kaspar kaspar.wtf, Kawani DS, Kiara Patry, Laura Zanti, Lauriane Rolo, Le Bayou Club Graphique, Lea Canovas, Lili Archer, Lily Terrible, Lisa Dehove, Lola Marty, Louis Kervel, Lutine Cabarrou, Maeva Iorio, Maké, Martin Régnier, Maxoy, Meuneurol, Nathanael Brelin, Nurzen & Jack Montaly, Oscar, Pierre Touron, Ptit Lylou, Rachel Roland, Rose Meybeck, Sarah Josserand, Theo Grandchamp. 

First published in 1995, this award-winning novel is a bold, achingly honest story set in the "rat bohemia" of New York City, whose huddled masses include gay men and lesbians abandoned by their families and forced to find new bonds with one another in the wake of this loss. Navigating the currents of the city are three friends: Rita Mae, a rat exterminator; Killer, a career plant-waterer; and David, an HIV-positive writer. Together, they seek new ways to be truthful and honest about their lives as others around them avert their glances. Alternately elegiac, defiant, and funny, Rat Bohemia is an expansive novel about how one can cope with loss and heal the wounds of the past by reinventing oneself in the city.

Rat Bohemia won the Ferro-Grumley Award for Lesbian Fiction and was named one of the "100 Best Gay and Lesbian Novels of All Time" by the Publishing Triangle.

Sarah Schulman is the author of eleven previous books, including eight novels, the latest being The Child (2006). As a journalist, her essays have appeared in The New York Times, The Nation, and Interview. She has won a Guggenheim Fellowship and two American Library Association Gay & Lesbian Book Awards. She lives in New York.

Published 2008

A reclusive graduate student is forced into a friendship that destabilizes her life in this surreal, allegorical romance. 

In a famed but crumbling university city overrun by nature, where power is held in a fragile balance between academics and a contingent of rogue gardeners, the reclusive narrator of The Vivisectors spends her days propping up the career of her needy and fraudulent professor boss. Then a controversy ruptures her careful routine: Adam, a contrarian student and an obsession of the boss, comes into heated conflict with a young professor, with both men claiming discrimination. The crisis subsumes the university, though the narrator is unmoved—not even the attempted suicide of her estranged mother has been enough to dispel her lack of engagement with the world. But when her boss commands her to befriend Adam, the narrator finds herself both caught up in the events threatening to tear the city apart and increasingly drawn to the alluring student at the heart of it all. 

Coursing with icy suspense and told with violent precision, The Vivisectors is a new kind of love story for an age of deteriorated communication. With the unsparing style and intellectual ambition that made her award-winning debut The Doloriad a celebrated provocation, Missouri Williams holds a mirror up to humanity’s most intimate contradictions and reflects them back through a novel of profound, spiky spiritual reckoning.

In this new collected edition of his recent articles, Simon Critchley - one of the most important living philosophers - takes us through his reflections on death, questions of doubt and reason, the legacy of David Bowie, the nature of fear and empathy in a broken society and a critique of narrative identity - among other things. YOUR LIFE IS NOT A STORY explores the contemporary world and its psychological impact on us, offering us a way to see our situation different and resist its tricks and contrivances.

Hervé Guibert’s novel The Gangsters opens at the front door of a Paris townhouse inhabited by the narrator’s elderly great-aunts, Suzanne and Louise. The narrator, distracted by a health crisis and his pursuit of an ambivalent lover, arrives to find suspicious renovation work taking place. But even after the great-aunts confess to being intimidated and extorted, neither he nor the incompetent police can stop the ongoing larceny. 

Readers of Guibert’s writing may already recognize the narrator (also named Hervé) and his great-aunts from the groundbreaking photo-novel Suzanne and Louise. As Guibert explained in a 1988 interview, “I started The Gangsters three days after discovering the events of which my great-aunts were victims, and I wrote the book in ten days. The story continued while I was writing and after I had finished.”  

Like his other books, The Gangsters is a work of autofiction. Here, he uses the crime-novel format to explore universal motifs, such as cruelty, desire, and mortality. “When I disappear,” Guibert continued, “I will have said it all. I will have striven to reduce this distance between the truths of experience and writing.”

The Pastoral Concert marks the first English translation of enigmatic filmmaker Jean-Claude Rousseau’s early written work Le Concert champêtre, begun in 1968, some fifteen years before his debut film.

Rousseau continued shaping the work as a screenplay until its rejection by the Centre National de la Cinématographie in 1983, whereupon he turned his efforts to the production of Jeune femme à sa fenêtre lisant une lettre (1983) instead. Unrealized, Le Concert champêtre became the matrix from which Rousseau’s subsequent films would emerge.

Taking its title and three central characters (A, B, and C) from the eponymous painting long attributed to Giorgione and now to Titian, The Pastoral Concert begins as a letter written by a young man to his cousin in the countryside on the eve of her wedding, before mutating into a diary entry, a screenplay, and finally a film imagined through the failure of its own realization. Through this instability of form, The Pastoral Concert expresses, in the words of Jean-Marie Straub, “something magnificent [and] entirely different from a screenplay or a découpage.”

Translated from the French by artist and filmmaker Kevin Weil, this edition includes an extensive appendix of extra-diegetic materials written by Rousseau, as well as correspondence with contemporaries such as Dominique Noguez, Marcel Hanoun, and Jean-Marie Straub, which form a picture of the work’s early reception.

In CUNT NORTON, the sequel to her unforgettable CUNT UPS, Dodie Bellamy "cunts" The Norton Anthology of Poetry (1975 edition), setting her text-ravenous cut-ups loose to devour the canonical voices of English literature. The texts that emerge from this sexual-linguistic encounter are monstrous, beautiful, unashamed: 33 erotic love poems ("the greatest fuck poem in the English language," according to Ariana Reines) that lust after the very aesthetic they resist. "These patriarchal voices that threatened to erase me—of course I love them as well," Bellamy writes. Even as CUNT NORTON dismembers the history of English poetry, "cunting" Chaucer and Shakespeare, Emerson and Lowell, it simultaneously allows new sexual members to arise and fill in the gaps, transforming the secret into the explicit, the classically beautiful into the wonderfully grotesque. Bellamy's cunted texts breathe life into literary "masters" with joy, honesty, hilarity, and insatiable passion.

Great is the Power of the Name considers the works of authors Elena Ferrante, Pauline Reáge, Karl Ove Knausgård, Colette and artist Lee Lozano. 

In 2016, when Anne-Mette had invited Signe to take on the role as editor of her text The Institute of Applied Speech, they both began reading Elena Ferrante's The Neapolitan Novels. They were specifically fascinated by the author’s use of pseudonym. Anne-Mette's Institute of Applied Speech was a tale of a fictive place, a pseudo-topos, and Elena Ferrante’s ideas about the pseudonym as a space for the writing itself was useful in thinking about fictive authorship. In a number of written interviews, Elena Ferrante unfolds the feminist perspective of her use of pseudonym. They were attracted by the idea that the author could avoid the biographical question; that she could disappear behind her own writing. 

To them, the artist Lee Lozano is the ghostly presence of hard-core moralist and humorous fuck-off art from another decade. During the course of her life, Lozano continuously reconfigured and gradually dissolved her own name, starting from Leonore Knaster ending up with E. Her work Boycott Women, in which she decides not to have any contact with women, expands the notion of feminist critique. 

Great is the Power of the Name publishes a readership interested in the position of the artist, and how it conditions the way we make art.

"Back in the day when KRS-One intoned —The Bridge is over!— he did not prefigure a poet from Queens of the fierce attitude and intellectual magnitude of Enzo Silon Surin. WHEN MY BODY WAS A CLINCHED FIST gives the Heisman to such a refrain with lyrical power-packing poetics that settles the score with a succinct— Not! No the Bridge is not over, for Surin's Queens is alive and well and under the gaze of a master observer who eulogizes lives that though at times are battered have always mattered.

Enzo Silon Surin's poems get you caught up in the deeply personal experiences of growing and visceral all-encompassing knowing from an acute witness of every breath and follicle of Black life from palm trees, sand and sea to street corner projects, suburban houses and fistfuls of black water. Surin writes about the confused and disconnected, trigger happy wannabes trapped by outdated notions of masculinity, the cracked head crackheads all held in the clutch of society's clinched fist through which the trauma that comes with being of color, addicted, broke, lost and tossed, is itself a clinched fist of black bodies caught in the Russian nesting doll America's clinched fists make.

WHEN MY BODY WAS A CLINCHED FIST is an elegy for 'the premature exits.' It is a blues for the black-on-black black and blue. Surin yields his pen like a microscopic scalpel whereby an autopsy of possibility is performed to un-clinch the remarkable bone gristle poetry in these unflinching heart-wrenching pages."—Tony Medina

Enzo Silon Surin, Haitian-born poet, educator, speaker, publisher and social advocate, is the author of two chapbooks, A Letter of Resignation: An American Libretto (2017) and Higher Ground. He is the recipient of a Brother Thomas Fellowship from The Boston Foundation and is a PEN New England Celebrated New Voice in Poetry. Surin's work gives voice to experiences that take place in what he calls "broken spaces" and his poems have appeared in numerous publications including Crab Orchard Review, Origins, Transition Magazine/Jalada, Interviewing the Caribbean, jubilat, Soundings East, The BreakBeat Poets: New American Poetry in the Age of Hip-Hop, and sx salon. Surin holds an MFA in Creative Writing from Lesley University and is currently Professor of English at Bunker Hill Community College and founding editor and publisher at Central Square Press. His debut full-length poetry collection is WHEN MY BODY WAS A CLINCHED FIST (Black Lawrence Press, 2020).

Brooklyn-based poet Asiya Wadud's fifth collection of poetry, Mandible, Wishbone, Solvent, engages migration, climate change, race, sexuality, and art-though not necessarily in that order-with a dynamic urgency and graceful restraint held in balance by a deep literary investment in the historical aesthetics of abstraction.

Punctuated by images of Wadud's own original art, the poems and prose of Mandible, Wishbone, Solvent offer an indirect meditation of the concepts of the drift ("Embedded in the act of drift can be the prior commitment or desire against drifting") and the isthmus ("An isthmus is a passageway, a threshold, underbrush, thicket, and deliverance"). Wadud constructs a latticework through which language circulates and creates new patterns that probe the natural world's edges, fissures, gaps, and seams. Further, the lyric poems suggest a relationship between speaker and environment that yearns to invert or dissolve the subject-object divide, creating instead an isthmus that joins and allows a drifting between them.

A young woman discovers that dancers at a local discotheque are being driven to acts of insane violence.

“The place was full of swarming, pugnacious, dangerous missellneous reptile's… Teenager's everywhere pounded their way on top of each other crazily strangling, biting and slashing each other's with broken glass, smashed records or sharpened blades… ”

16-year-old Jennifer Gibbons (1963–1993) wrote Discomania in 1980, alongside her twin sister June-Alison, who was also writing her own novel, The Pepsi Cola Addict, in the bedroom that they shared.

Jennifer offered Discomania to the same English vanity press who would publish June-Alison's book, but Discomania was turned down for being “too violent, too sexual, and too futuristic.”

Long thought to have been lost or destroyed, June-Alison had in fact preserved the typescript of this unique, furious, funny, and strange novel, which we present with her blessing, alongside additional texts from June-Alison, and editors David Tibet and Ania Goszczyńska.

A twisty thriller about the fate of a sprawling family in Lagos, Lakiriboto is a queer, feminist revenge thriller like no other, in which murder, betrayal, and witchcraft collide – with explosive results. 

When her grandmother dies in the night, Moremi’s fate falls to her uncle, the grasping family chief who sends her off to work as a housemaid in Lagos. On arriving there, Moremi finds that the big city is not all she thought it would be. But she’s not alone. After another family death, Kudirat, accused of bringing misfortune to her close family, has also been sent to live as a maid in the same house, scrubbing floors and folding laundry for long-suffering Tola, whose abusive doctor husband refuses to treat. Together, with the help of her queer aunt Morieba, the four women must wrestle back control of their lives as the patriarchal traditions that govern the family push back against their freedoms. When Tola’s condition worsens, someone new emerges, someone with revenge and redemption in mind. 

Mixing family saga, mobster pulp, and queer coming-of age, Lakiriboto is a staggeringly original and surprising novel about Nigeria’s queer and feminist communities, the struggles they face, and the lengths they will go to to overcome them. 

A sequence of ten poems; in separated continuance, an outcry that ventriloquises and manifests languages of exclusion and yet with dogged persistence protests them. 

“Oh strike the light, float the boat, for sake of common peril they are fallen away as gathered up in sight of lamentable in- difference and will go down against us”. 

Published to accompany the artist's retrospective at the Kunstmuseum St. Gallen (September 2025–March 2026), this comprehensive monograph offers a detailed overview of the work of Dutch artist Jacqueline de Jong. Designed by Sabo Day and edited by Melanie Bühler, curator of the exhibition, this publication spans De Jong's entire artistic journey of from her editorial activities and bold figurative paintings of the 1960s to her "Billiards" series in the 1970s, and her latest series of the 2020s that reflect the current state of the world. 

It features new essays by Karen Kurczynski (Professor of History of Art and Architecture at the University of Massachusetts Amherst), Emily LaBarge (writer and critic), Tiana Reid (Assistant Professor of English at York University), Paul Bernard (Director of Kunsthaus Biel), as well as an as-yet-unpublished conversation with the artist and McKenzie Wark (writer and theoretician). 

Organized through six sections entitled "Disobedience," "Publishing," "Chaos," "Pop," "Play," and "Politics," all lavishly illustrated, it underlines the challenging approach to art and life developed by De Jong formally, visually, and conceptually from the early 1960s until 2024.

Edited by Melanie Bühler
Texts by Emily LaBarge, Gianni Jetzer, Jacqueline de Jong, Karen Kurczynski, McKenzie Wark, Melanie Bühler, Paul Bernard, Tiana Reid.

Teline Trần's Ad Học traverses the improvisational structures that shape social life in order to reflect their valences as both insufficient and abundant. In their first poetry chapbook, Trần locates those junctures with bittersweet pleasure and biting critique and asks how to sustain both at once. This is, Trần shows us, the work of living, against and within the ongoing attrition and amnesia at scales historical and governmental, interpersonal, familial, and social. Ad Học asks the reader to turn inwards, towards a personal politic, to self-revolution, in order to seek horizons dreamier, queerer, and hopefully insurgent.

Teline Trần is a writer from Orange, California or Gabrieleño/Tongva land. They write about home and interstitial faith via several mediums such as fiction, poetry, film, and ultimately, the browser. Teline works as the Membership and Community Engagement Coordinator at Wendy’s Subway, where they were a Fellow in 2020. They also work as the Development Coordinator at Mekong NYC, a Southeast Asian grassroots organization in the Bronx. They hold a degree in Comparative Literature from Reed College.

Amna, Nimo, Mouna – these are all names for a single Egyptian woman whose life has mirrored that of her country. After her death in 2015, her son, Nour, climbs to the attic of their house where he glimpses her in a series of ever more immersive visions: Amna as a young woman forced into an arranged marriage in the 1950s; as a coquettish student of French known to her confidants as Nimo; a self-made divorcee and a lover; a ‘pious mama’ donning her hijab; and, finally, as a feminist activist during the Arab Spring.

Charged and renewed by these visions of a woman he has always known as Mouna, Nour begins a series of fevered letters to his sister – who has been estranged from Mouna and from Egypt for many years – in an attempt to reconcile what both siblings know about this mercurial woman, their country, and the possibility for true revolution after so much has failed.

Hallucinatory, stylish, and erotic, The Dissenters is a transcendent portrait of a woman and an era that explodes our ideas of faith, gender roles, freedom, and political agency.

YOUSSEF RAKHA is an Egyptian author of fiction and nonfiction working in Arabic and English. He is the author of The Book of the Sultan’s Seal, The Crocodiles, and Paulo, which was long-listed for the International Prize for Arabic Fiction and won the 2017 Sawiris Award.

Responses to Untitled (eye with comet) (c.1985) by Paul Thek is the sixth and final anthology in a series that gathered responses to works of art made during a period of the ongoing AIDS Crisis, from the identification of the virus in 1981 to the introduction of life-saving drugs in 1996.  

In this sixth iteration, responses were sought to the painting Untitled (eye with comet) by Paul Thek. The work was found in his storage after his death from AIDS in 1988. 

List of contributors in order of appearance:

E.R. De Siqueira
Ben Estes
João Motta Guedes
Lucy Swan
Jon Rainford
Louis Shankar
Amy Evans Bauer
Hattie Morrison
Sammy Paloma
AN Grace
James Horton
Nick Wood
Sophie Paul
Jae Vail
Elizabeth Zvonar
Lars Meijer
Clay AD
Michel Kessler
Pablo Miguel Martínez
Emma Harris
Dylan McNulty-Holmes
Kitya Mark
Katherine Franco
Ainslie Templeton
Alistair McCartney
John Brooks
Jesse Howarth
jimmy cooper
Felix Pilgrim
Nicholas Chittenden Morgan
Murphy O’Neir
Rachel Cattle
Isabel Nolan
Susan Finlay
Ted Simonds
Brooke Palmieri
Kate Morgan
Ashleigh A. Allen
Diogo Gama
JP Seabright
Hugo Hagger
Amanda Kraley
Brendan Cook
Matt Bailey
Charlotte Flint
Rodney Schreiner
Lucy Price
Morgan Melhuish
Jordan Weitzman
Jaakko Pallasvuo
Alex Fiorentino
Harald Smart
Marguerite Carson
loll jung
Richard Porter
Nicholas Kalinoski
Hedi El Kholti
Edmund Francis English
Ted Bonin

A Mouth Holds Many Things collects hybrid-literary works from 36 women and nonbinary BIPOC writer-artists. Spanning experimental poetry and prose, image-text, collage, performance text, AI-generated writing, and more, this ground-breaking full-color print volume illuminates and expands the interstitial spaces where text blends, blurs, and morphs with visual and other media.

At the restless heart of this collection is a challenge to some fundamental questions: What is reading? What is writing? Lifting language beyond the domain of the letter, the works collected here present language in other forms: visual, embodied, sonic, asemic, tactile. Language, after all, is multi-textu(r)al, interwoven, punctured, fragmented, grafted, possessing power to construct and deconstruct, fed into by many rivers of experience: marginalizations and migrations, diasporas and displacements, invisibilities and hyper-visibilities.

A project of the Portland-based literary-social art project, De-Canon, which creates unique spaces and experiments to center works by writers of color, this collection is edited by Dao Strom and Jyothi Natarajan.

A Mouth Holds Many Things was, in the short stories/poetry/anthologies category, the winner of a 2024 PubWest Book Design Award.

Full list of contributors

Stephanie Adams-Santos, Kimberly Alidio, Samiya Bashir, Aya Bram, Victoria Chang, Jennifer S. Cheng, Gabrielle Civil, desveladas (Macarena Hernández, Sheila Maldonado, Nelly Rosario), Carolina Ebeid, Nadia Haji Omar, Christine Shan Shan Hou, Imani Elizabeth Jackson, Vi Khi Nao, Diana Khoi Nguyen, Quyên Nguyễn-Hoàng, Cindy Juyoung Ok, Monica Ong, Shin Yu Pai, Jenne Hsien Patrick, Jennifer Perrine, Alley Pezanoski-Browne, Kelly Puig, Ayesha Raees, Jhani Randhawa, Paisley Rekdal, Daisuke Shen, Sasha Stiles, Sandy Tanaka, Arianne True, Addie Tsai, Vauhini Vara, Divya Victor, Anna Martine Whitehead, Kathy Wu