A collection of essays from Dodie Bellamy on disenfranchisement, vulgarity, American working class life, aesthetic values, and profound embarrassment.

So. Much. Information. When does one expand? Cut back?  Stop researching? When is enough enough? Like Colette's aging courtesan Lea in the Chéri books, I straddle two centuries that are drifting further and further apart.—Dodie Bellamy, “Hoarding as Ecriture”

This new collection of essays, selected by Dodie Bellamy after the death of Kevin Killian, her companion and husband of thirty-three years, circles around loss and abandonment large and small. Bellamy's highly focused selection comprises pieces written over three decades, in which the themes consistent within her work emerge with new force and clarity: disenfranchisement, vulgarity, American working class life, aesthetic values, profound embarrassment. Bellamy writes with shocking, and often hilarious, candor about the experience of turning her literary archive over to the Beinecke Rare Book & Manuscript Library at Yale and about being targeted by an enraged online anti-capitalist stalker. Just as she did in her previous essay collection, When the Sick Rule the World, Bellamy examines aspects of contemporary life with deep intelligence, intimacy, ambivalence, and calm.

The first authorized biography of postmodernism's literary hero, Kathy Acker.

Acker's life was a fable; and to describe the confusion and love and conflicting agendas behind these memorials would be to sketch an apocryphal allegory of an artistic life in the late twentieth century. It is girls from which stories begin, she wrote in her last notebook. And like other lives, but unlike most fables, it was created through means both within and beyond her control.—from After Kathy Acker

Rich girl, street punk, lost girl and icon… scholar, stripper, victim, and media-whore: The late Kathy Acker's legend and writings are wrapped in mythologies, created mostly by Acker herself. Twenty years after her death, Acker's legend has faded, making her writing more legible.In this first, fully authorized, biography, Chris Kraus approaches Acker both as a writer and as a member of the artistic communities from which she emerged. At once forensic and intimate, After Kathy Acker traces the extreme discipline and literary strategies Acker used to develop her work, and the contradictions she longed to embody. Using exhaustive archival research and ongoing conversations with mutual colleagues and friends, Kraus charts Acker's movement through some of the late twentieth century's most significant artistic enterprises.

In Dodie Bellamy's imagined "sequel" to Bram Stoker's fin de siècle masterpiece Dracula, Van Helsing's plain Jane secretarial adjunct, Mina Harker, is recast as a sexual, independent woman living in San Francisco in the 1980s. The vampire Mina Harker, who possesses the body of author Dodie Bellamy, confesses the most intimate details of her relationships with four vastly different men through past letters. Simultaneously, a plague is let loose in San Francisco-the plague of AIDS.

Bigger-than-life, half goddess, half Bette Davis, Mina sends letter after letter to friends and co-conspirators, holding her reader captive through a display of illusion and longing. Juggling quivering vulnerability on one hand and gossip on the other, Mina spoofs and consumes and spews back up demented reembodiments of trash media and high theory alike. It's all fodder for her ravenous libido and "a messy ambiguous place where pathology meets pleasure." Sensuous and captivating, The Letters of Mina Harker describes one woman's struggles finding the right words to explain her desires and fears without confining herself to one identity.

Guillaume Dustan' first three novels, published in French between 1996 and 1998, describing the narrator's sexual odyssey through a Paris still haunted by AIDS. 

This volume collects a suite of three wildly entertaining and trailblazing short novels by the legendary French anti-assimilationist LGBTQ+ writer Guillaume Dustan. Published sequentially in France between 1996 and 1998, the three novels are exuberant and deliberately affectless accounts of the narrator's sexual odyssey through a Parisian club and bath scene still haunted by AIDS.  

In My Room (1996) takes place almost entirely in the narrator's bedroom. The middle volume, I'm Going Out Tonight (1997) finds him venturing out onto the gay scene in one long night. Finally, in Stronger Than Me(1998) the narrator reflects on his early life, which coincided with the appearance and spread of the AIDS virus in France.  

A close contemporary of Dennis Cooper, Brett Easton Ellis, Kevin Killian, and Gary Indiana, Guillaume Dustan's deadpan autofiction is at once satirical and intimate, and completely contemporary.

Paul Preciado's controversial 2019 lecture at the École de la Cause Freudienne annual conference, published in a definitive translation for the first time. 

In November 2019, Paul Preciado was invited to speak in front of 3,500 psychoanalysts at the École de la Cause Freudienne's annual conference in Paris. Standing in front of the profession for whom he is a mentally ill person suffering from gender dysphoria, Preciado draws inspiration in his lecture from Kafka's Report to an Academy, in which a monkey tells an assembly of scientists that human subjectivity is a cage comparable to one made of metal bars.  

Speaking from his own mutant cage, Preciado does not so much criticize the homophobia and transphobia of the founders of psychoanalysis as demonstrate the discipline's complicity with the ideology of sexual difference dating back to the colonial era, an ideology which is today rendered obsolete by technological advances allowing us to alter our bodies and procreate differently. Preciado calls for a radical transformation of psychological and psychoanalytic discourse and practices, arguing for a new epistemology capable of allowing for a multiplicity of living bodies without reducing the body to its sole heterosexual reproductive capability, and without legitimizing hetero-patriarchal and colonial violence.  

Causing a veritable outcry among the assembly, Preciado was heckled and booed and unable to finish. The lecture, filmed on smartphones, was published online, where fragments were transcribed, translated, and published with no regard for exactitude. With this volume, Can the Monster Speak? is published in a definitive translation for the first time.

Inspired by the lectures of Roland Barthes, Anne Carson, and Jorge Luis Borges, Kate Zambreno's Appendix Project collects eleven talks and essays written in the course of the year following the publication of Book of Mutter, Zambreno's book on her mother that took her over a decade to write. These surprising and moving performances, underscored by the sleeplessness of the first year of her child's life, contain Zambreno's most original and dazzling thinking and writing to date.

In Appendix Project Zambreno thinks through the work of On Kawara, Roland Barthes, W.G. Sebald, Bhanu Kapil, Walter Benjamin, Theresa Hak Kyung Cha, Marguerite Duras, Marlene Dumas, Louise Bourgeois, Doris Salcedo, Jenny Holzer, and more.

The first English-language publication of writings by the collective artist Claire Fontaine, addressing our complicity with anything that limits our freedom.

This anthology presents, in chronological order, all the texts by collective artist Claire Fontaine from 2004 to today. Created in 2004 in Paris by James Thornhill and Fulvia Carnevale, the collective artist Clare Fontaine creates texts that are as as experimental and politically charged as her visual practice. In. these writings, she uses the concept of "human strike" and adopts the radical feminist position that can be found in Tiqqun, a two-issue magazine cofounded by Carnevale.

Human strike is a movement that is broader and more radical than any general strike. It addresses our inevitable subjective complicity with everything that limits our freedom and shows how to abandon these self-destructive behaviors through desubjectivization. Human strike, Claire Fontaine writes, is a subjective struggle to separate from the inevitable harm we do to ourselves and others simply by living within postindustrial neoliberalism. Human Strike is the first English-language publication of Claire Fontaine's influential and important theoretical writings.

A posthumous collection of writings by Deleuze, including letters, youthful essays, and an interview, many previously unpublished.

Letters and Other Texts is the third and final volume of the posthumous texts of Gilles Deleuze, collected for publication in French on the twentieth anniversary of his death. It contains several letters addressed to his contemporaries (Michel Foucault, Pierre Klossowski, François Châtelet, and Clément Rosset, among others). Of particular importance are the letters addressed to Félix Guattari, which offer an irreplaceable account of their work as a duo from Anti-Oedipus to What is Philosophy? Later letters provide a new perspective on Deleuze's work as he responds to students' questions.

A fragmented, lyrical essay on memory, identity, mourning, and the mother.

"Writing is how I attempt to repair myself, stitching back former selves, sentences. When I am brave enough I am never brave enough I unravel the tapestry of my life, my childhood." - from Book of Mutter

Composed over thirteen years, Kate Zambreno's Book of Mutter is a tender and disquieting meditation on the ability of writing, photography, and memory to embrace shadows while in the throes, and dead calm, of grief. Book of Mutter is both primal and sculpted, shaped by the author's searching, indexical impulse to inventory family apocrypha in the wake of her mother's death. The text spirals out into a fractured anatomy of melancholy that includes critical reflections on the likes of Roland Barthes, Louise Bourgeois, Henry Darger, Theresa Hak Kyung Cha, Peter Handke, and others. Zambreno has modeled the book's formless form on Bourgeois's Cells sculptures--at once channeling the volatility of autobiography, pain, and childhood, yet hemmed by a solemn sense of entering ritualistic or sacred space.

Neither memoir, essay, nor poetry, Book of Mutter is an uncategorizable text that draws upon a repertoire of genres to write into and against silence. It is a haunted text, an accumulative archive of myth and memory that seeks its own undoing, driven by crossed desires to resurrect and exorcise the past. Zambreno weaves a complex web of associations, relics, and references, elevating the prosaic scrapbook into a strange and intimate postmortem/postmodern theater.

Wayne Koestenbaum's first book of short fiction: a collection of whimsical, surreal, baroque, ribald, and heartbreaking fables. 

In his first book of short fiction--a collection of whimsical, surreal, baroque, ribald, and heartbreaking fables--Wayne Koestenbaum takes the gloom and melancholy of our own terrifying political moment and finds subversive solace by overturning the customary protocols of tale-telling. Characters and narrators wander into strange locales; the difference between action and thinking, between reality and dream, grows moot in a heightened yet burlesque manner. The activities in The Cheerful Scapegoat are a cross between a comedy of manners and a Sadean orgy. Language has its own desires: figures of speech carry an erotic charge that straddles the line between slapstick and vertigo. Punishment hangs over every dialogue--but in the fable-world of The Cheerful Scapegoat, abjection comes with an undertaste of contentment. The tchotchkes of queer culture--codes and signifiers--get scrambled together in these stories and then blown up into an improbable soufflé.  

Koestenbaum's fables travel in circles, slipping away from their original point and leading the reader to a paradisiacal suspension of fixed categories. Intensified sentences and curlicue narratives scheme together mesmerically to convince the reader to abandon old ways of thinking and to take on a commitment to the polymorphous, the wandering, the tangential. Koestenbaum's fables--emergency bulletins uttered in a perverse vernacular of syntactic pirouettes--alert us to the necessity of pushing language into new contortions of exactitude and ecstatic excess.

Throughout the 1980s and 1990s, Reynaldo Rivera took personal photos of the Los Angeles that he lived in and knew: a world of cheap rent, house parties, subversive fashion, underground bands, and a handful of Latino gay and transvestite bars: Mugi’s, The Silverlake Lounge, and La Plaza. Most of these bars are long closed and many of the performers have died. But in Rivera’s photographs, these men and women live on in a silvery landscape of makeshift old-style cinematic glamour, a fabulous flight from unacceptable reality. 

As a teenager, Rivera took refuge in used bookstores and thrift stores, where he discovered old  photo books of Mexican film stars and the work of Lisette Model, Brassai, and Bresson. Inspired, he bought a camera and began  photographing people at his hotel. In 1981 he moved to Echo Park and began taking photos for the LA Weekly. 

This book is an ensemble of almost 200 images selected by Hedi El Kholti and Lauren Mackler spanning more than two decades in Los Angeles and Mexico. The  book also includes Luis Bauz’s story, “Tatiana,” about one of the  subjects of these photographs; a critical essay on Rivera’s work by Chris Kraus; and a novella-length conversation between Rivera and his  friend and contemporary Vaginal Davis about their lives, work, fantasies, and collective histories.

Edited by Hedi El Kholti and Lauren Mackler
With Luis Bauz, Vaginal Davis and Chris Kraus

The Little Black Book of Grisélidis Réal is the portrait of a true humanist who made a career out of compassion. Hailed as a virtuoso writer and a "revolutionary whore," Grisélidis Réal (1929-2005) chanced into prostitution at thirty-one after an upper-class upbringing in Switzerland. Serving clients from all walks of life, Réal applied the anarcho-Marxist dictum "from each according to his abilities, to each according to his needs" to her profession, charging sliding-scale fees determined by her client's incomes and complexity of their sexual tastes.

Réal went on to become a militant champion of sexual freedom and prostitutes' rights. She has described prostitution as "an art, and a humanist science," noting that "the only authentic prostitution is that mastered by great technical artists...who practice this form of native craft with intelligence, respect, imagination, heart..."

This volume includes lengthy dialogues from 1979-1981 with Réal conducted by journalist and author Jean-Luc Henning, in which she eloquently discusses the theoretical implications of sex-positive whoring and relates her experiences both inside and outside the profession: from her lengthy love affair with the "Berber" to such "psychological" and "special" clients as the "moldy rhinoceros."

The "Little Black Book" that rounds out this book is drawn from the logs in which Réal kept track of her many clients, from "Pedro, hilarious fat Spaniard, devoted, simple, honest, fat peasant face, 70F" to "Pierre 8 (from Basel), blue eyes, fifties, slightly balding, cultivated, sweet-violent...licks my finger after I remove it from his anus...100-400F." It is a journal that not only chronicles Réal's working life, but offers a clinically direct, investigative sociological analysis of the sexual subcultures of her time.

Translated by Ariana Reines.

Audio journals that document Wojnarowicz's turbulent attempts to understand his anxieties and passions, and tracking his thoughts as they develop in real time.In these moments I hate language. I hate what words are like, I hate the idea of putting these preformed gestures on the tip of my tongue, or through my lips, or through the inside of my mouth, forming sounds to approximate something that's like a cyclone, or something that's like a flood, or something that's like a weather system that's out of control, that's dangerous, or alarming.... It just seems like sounds that have been uttered back and forth maybe now over centuries. And it always boils down to the same meaning within those sounds, unless you're more intense uttering them, or you precede them or accompany them with certain forms of violence.
--from The Weight of the Earth

Artist, writer, and activist David Wojnarowicz (1954-1992) was an important figure in the downtown New York art scene. His art was preoccupied with sex, death, violence, and the limitations of language. At the height of the AIDS epidemic, Wojnarowicz began keeping audio journals, returning to a practice he'd begun in his youth.The Weight of the Earth presents transcripts of these tapes, documenting Wojnarowicz's turbulent attempts to understand his anxieties and passions, and tracking his thoughts as they develop in real time.

In these taped diaries, Wojnarowicz talks about his frustrations with the art world, recounts his dreams, and describes his rage, fear, and confusion about his HIV diagnosis. Primarily spanning the years 1987 and 1989, recorded as Wojnarowicz took solitary road trips around the United States or ruminated in his New York loft, the audio journals are an intimate and affecting record of an artist facing death. By turns despairing, funny, exalted, and angry, this volume covers a period largely missing from Wojnarowicz's written journals, providing us with an essential new record of a singular American voice.

Published 2018

Fascination brings together an early memoir, 'Bedrooms Have Windows' (1989) and a previously unpublished prose work, 'Bachelors Get Lonely', by the poet and novelist Kevin Killian, one of the founding members of the New Narrative movement. The two together depict the author's early years struggling to become a writer in the sexed-up, boozy, drug-ridden world of Long Island's North Shore in the 1970s. It concludes with Triangles in the Sand, a new, previously unpublished memoir of Killian's brief affair in the 1970s with the composer Arthur Russell. Fascination offers a moving and often funny view of the loneliness and desire that defined gay life of that era-a time in which Richard Nixon's resignation intersected with David Bowie's 'Diamond Dogs'-from one of the leading voices in experimental gay writing of the past thirty years. "Move along the velvet rope," Killian writes in 'Bedrooms Have Windows', "run your shaky fingers past the lacquered Keith Haring graffito: 'You did not live in our time! Be Sorry!'"

Kevin Killian's Fascination comes to us with delay, yet arrives, thankfully, as though preserved within the flaps of an unsent, sealed, and searing correspondence, consummate and irreverent, having wasted no time. With their uncompromising wit and harnessed consciousness, Killian's memoirs propose that the project of remembrance, though dotted with loss, is also one of relentless recall for relentless pleasure. Not all of Killian's memories are his, but through him they become yours; others are rewound and replayed. Killian's invitation, though we wouldn't dare to rebuff it: "Remember me!"
-- Rachel Valinsky

Kevin Killian was a San Francisco-based poet, novelist, playwright, and art writer. Recent books include the poetry collections Tony Greene Era and Tweaky Village. He is the coauthor of Poet Be Like God: Jack Spicer and the San Francisco Renaissance. With Dodie Bellamy, he coedited Writers Who Love Too Much: New Narrative Writing, 1977-1997.

A collection of early and not-so-early work by the mistress of gut-level fiction-making.

You can say I write stories with sex and violence and therefore my writing isn't worth considering because it uses content much less lots of content. Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'...

Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula.

This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer--which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker's fiction. And last, but not least, is the full transcript of the decision reached by West Germany's Federal Inspection Office for Publications Harmful to Minors in which Acker's work was judged to be not only youth-threatening but also dangerous to adults, and subsequently banned.

Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She's definitely not for the easily offended--but then, there are worse things in life than being offended. Such as the things that Acker writes about...

Kathy Acker was a novelist, essayist and performance artist whose books include Blood and Guts in High School, The Childlike Life of the Black Tarantula, Empire of the Senseless, In Memoriam to Identity, Don Quixote, My Mother: Demonology, and her last novel, Pussy King of the Pirates. Born and raised on New York's Upper East Side, she died of breast cancer in Tijuana, Mexico, in 1997.

A cult classic in France, the first translation of a novel that captures a subjective stroll through an underground, glamorous Paris.
'finally there are the rolling stones who call for all these at the same time among them and around them: the policeman, the cross-dresser, the dancer, Frankenstein, the dandy, the robot'
--from Dusty Pink

Written with the hope of achieving a "dreary distant banality," Jean-Jacques Schuhl's first novel is a subjective stroll through an underground, glamorous Paris, a city that slips into the background but never disappears, hovering on the verge of its own suppression. An elegiac and luminous cut-up, Dusty Pink brings together race wire results, editions of France-Soir, the lyrics to well-known British songs, scripts from famous old films, pharmaceutical leaflets, fashion ads, and strips and scraps of culture in which the avant-garde and academicism blur in an overview of the cultural scene. This world of atmospheres, portraits, and dazzling associations of ideas creates a plane of shimmering surfaces.

Published in French in 1972, Jean-Jacques Schuhl's Dusty Pink became a cult classic. This is its first translation.

Cult author Jean-Jacques Shuhl won the Prix Goncourt in 2000 for his novel Ingrid Caven, which sold over 235,000 copies in France. It was his first book since Dusty Pink was published in 1972.

Composed between destinations, in airplanes, trains, museums, and bars over three years, Jeanne Graff's Vzszhhzz captures the slight intersections of a loose group of artists and lawyers, restauranteurs, philosophers, wine-makers and boxers whose lives are conducted almost entirely in a second language. A loose chronicle masquerading as a novel, Vszhhzz - like Michèle Bernstein's All The King's Horses, the Bernadette Corporation's Reena Spaulings, and Natasha Stagg's Surveys - couches Graff's sharp observations in a laconic and ambient style. By not saying too much, Vzszhhzz says everything about the relation to time, cities, weather and smog that has become the lingua franca of a creative and transient life.

Writer and curator Jeanne Graff was born in Lausanne, Switzerland and lives in New York. She is a columnist for May Revue (Paris), works in a vineyard, and teaches at HEAD art school in Geneva. In 2014, Graff founded 186f Kepler, an art space without walls. She has organized numerous international exhibitions, and performs with her band Solar Lice. Graff recently completed a writing residency at Villa Noailles in Hyeres, France.

"The Pain Journal" is the last finished work by Los Angeles writer and artist Bob Flanagan and is the extraordinary chronicle of the final year of his life before his death from cystic fibrosis at the age of 43. Flanagan created performances with Sheree Rose that shocked and inspired audiences as he combined text, video, and live performance to create a highly personal exploration of childhood, sex, illness, and mortality.

Leash extends the logic of S&M to its inexorable and startling conclusion, darkly and hilariously revealing the masochistic impulse as the urge to disappear from the chores, obligations, and emotional vacuity of daily life.

No more jobs, no more taxes, no more checkbook, no more bills, no more credit cards, no more credit, no more money, no more mortgages, no more rent, no more savings, no more junk mail, no more junk, no more mail, no more phones, no more faxes, no more busy signals, no more computers, no more cars, no more drivers' licenses, no more traffic lights, no more airports, no more flying, no more tickets, no more packing, no more luggage, no more supermarkets, no more health clubs... While her current spends the summer researching public housing in Stockholm, a moderately wealthy, object-oppressed, and terminally hip New York female of a certain age seeks adventure in the sedate dyke bars of lower Manhattan. Finding none, she answers a personal ad. She is ordered to put on a blindfold before the first meeting with the woman she knows only as Sir. Not knowing what someone looks like turns out to be freeing, as do the escalating constraints that alienate her not just from her former life, but from her very conception of who she is. Part Georges Bataille, part Fran Leibowitz, this is the Story of O told with a self-referentially perverse sense of humor.

A writer takes on subjects as varied as vomit, Kathy Acker's wardrobe, and Occupy Oakland, in lyric explorations of illness, health, and the body.

A moving meld of essay, memoir, and story, When the Sick Rule the World collects Dodie Bellamy's new and recent lyric prose. Taking on topics as eclectic as vomit, Kathy Acker's wardrobe, and Occupy Oakland, Bellamy here examines illness, health, and the body--both the social body and the individual body--in essays that glitter with wit even at their darkest moments.

In a safe house in Marin County, strangers allergic to the poisons of the world gather for an evening's solace. In Oakland, protesters dance an ecstatic bacchanal over the cancerous body of the city-state they love and hate. In the elegiac memoir, "Phone Home," Bellamy meditates on her dying mother's last days via the improbable cipher of Steven Spielberg's E.T. the Extra-Terrestrial. Finally, Bellamy offers a piercing critique of the displacement and blight that have accompanied Twitter's move into her warehouse-district neighborhood, and the pitiless imperialism of tech consciousness.

A participant in the New Narrative movement and a powerful influence on younger writers, Bellamy views heteronormativity and capitalism as plagues, and celebrates the micro-revolts of those on the outskirts. In its deft blending of forms, When the Sick Rule the World resiliently and defiantly proclaims the "undeath of the author." In the realm of sickness, Bellamy asserts, subjectivity is not stable. "When the sick rule the world, mortality will be sexy," Bellamy prophesies. Those defined by society as sick may, in fact, be its saviors.

In Derek McCormack's home province, farm boys with growing pains enjoy a little-known meal called bed-supper, a hearty bowl of sweet breakfast cereal enjoyed as a midnight snack. Here McCormack has composed a peculiarly salacious bed-supper, where the long secret sweet-tooth of the Marquis de Sade glints as it sinks into the dirtiest of dishes. This useful book will more than stay your appetite until breakfast -- Castle Faggot is also a manual of redecoration, a musical, a puppet show, a theory of cosmetics, a work of poetics, and a glorious celebration of the French decadence. -- Lisa Robertson, author of The Baudelaire Fractal

Derek McCormack is a writer who lives in Toronto. His previous books include The Show that Smells and The Well-Dressed Wound (Semiotext(e)).

An erotic and darkly comic novel about female friendship, set at the intersection between counterculture and the multimillion dollar art industry.

Over the course of a few days in the fall of 2015, the sophisticated and awkward, wry, and beautiful Mathilde upends her tidy world. She takes a short leave from her job at one of New York's leading auction houses and follows her best friend Gretchen on an impromptu trip to Paris. While there, she confronts her late mother's hidden life, attempts to rein in Gretchen's encounters with an aloof and withholding sometime-boyfriend, and faces the traumatic loss of both her parents when she was a teenager.