Fiction

In a story as exciting as any science fiction adventure written, Samuel R. Delany's 1976 SF novel, originally published as Triton, takes us on a tour of a utopian society at war with our own Earth. High wit in this future comedy of manners allows Delany to question gender roles and sexual expectations at a level that, 20 years after it was written, still make it a coruscating portrait of "the happily reasonable man", Bron Helstrom - an immigrant to the embattled world of Triton, whose troubles become more and more complex, till there is nothing left for him to do but become a woman.

Against a background of high adventure, this minuet of a novel dances from the farthest limits of the solar system to Earth's own Outer Mongolia. Alternately funny and moving, it is a wide-ranging tale in which character after character turns out not to be what he - or she - seems.

In this collection of writings, Howard Slater improvises around what Walter Benjamin could have meant by the phrase 'affective classes'. This 'messianic shard' and its possible implications leads Slater to develop a therapeutic micro-politics by way of a mourning for the Workers' Movement and a grappling with the 'becomings of capital'.

The essay 'Anomie/Bonhomie' is the keystone of this book which also features tributary texts and poems drawn from the past ten years. These supplementary texts approach such themes as exodus, species-being, surrealist precedents, poetic language and the possibilities for collective 'affective' practices to combat capitalism's colonisation of the psyche.

They recite all the stories of the world in a loud voice. When they're done, all the stories, all time and all places will have passed through their lips...’ With the minimum of instructions and a restricted format of four lines, Dora García’s collaborative and participatory project has now collected over 2,500 stories. Ranging from mundane to the extraordinary, these four line vignettes reveal the shared fears and fantasies of the contributors, the pervasiveness of popular culture and the possibilities of the imagination.

I read unsolicited ‘encounter’ emails as if they were intended for me alone in a sincere desire for a real love relation, until their repetition bored me.I posted them on Facebook, while I sought their form. My friend A. C. wrote to tell me how much he was enjoying my lover’s discourse. The form became clear: after the French edition of Roland Barthes’s Fragments d’un discours amoureux (“Tel Quel”, Seuil, 1977).

Emile Zola’s novel Nana is re-read and re-written,ghost-written, condensed according to soft furnishings, lighting effects (including metaphor), other women, death and dying, cats, anti-semitism, money, smell, and many other categories.

A debutante frees a hyena from the zoo so that it might take her place at her coming-out ball; an artist paints a portrait of a man’s dead wife, but finds she has painted herself instead; a woman makes love to a boar underneath a mountain of cats; a chicken is roasted with the brains and livers of thrushes, truffles, crushed sweet almonds, rose conserve and drops of divine liqueur; two noble sisters wonder whether anybody can be ‘a person of quality if they wash away their ghosts with common sense’; a psychoanalyst must decide what to do with the gift of a team of Russian rats trained to operate on humans. In this first complete edition of Leonora Carrington’s short stories, written throughout her life from her early years in Surrealist Paris to her late period in Dirty War-era Mexico City, the world is by turns subversive, funny, sly, wise and disarming.

Mistress Rebecca is approached by a 34-year-old Tory who works in a corporate field of creativity with a feeding fetish. Such mundanity is outrageous – until he declares himself as a female supremacist. Over the period of two evenings and one afternoon in three different chain restaurants in central London, Mistress Rebecca explores Humpty Dumpty’s beliefs then pushed his adoration of humiliation and his facade of female empowerment to its limits.

Une exploratrice terrienne découvre OMAOOG-deemw, une planète d’un autre système solaire. Elle se confronte à la civilisation MNRVWX, et apprend à connaître ce peuple non-binaire qui communique par ondes.

Ce roman composé de textes indépendants explore les possibilités de vie alternatives par le biais de la science fiction, tant au niveau du genre que du point de vue d'autre formes d'échanges entre "humains" et entre espèces.

Chaque texte a donné lieu à une performance, ou incursion dans le réel, au fil de l'année que j'ai passée à les écrire.

How to become a soft corpse recomposed in light fabric ou comment laisser les cadavres saigner de la porte du placard, comment anti-citer comme la reine de chicane les yeux couverts de cuir, comment s’écrit Madame X, comment s’échoïser dans le trou noir de l’identité – qui PARLE quand on parle?

The book transcribes a body broken by American empire, that of ex-con Rafael Luis Estrada Requena, hacking itself away from contemporary society. Johanna Hedva, author of Sick Woman Theory, takes the ferocious compulsion to escape (from capitalism, from the limits of the body-machine, from Earth) and channels it into an evisceration of oppression and authority. Equal parts tender and brutal, romantic and furious, On Hell is a novel about myths that trick and resist totalitarianism.

A post-anime sapphic gurowave trauma-romance. 

A multimedia survival kit for another dimension. 

A terrible disease afflicts a disgraced biomech pilot and an ex-magical girl. 

View additional slutty artifacts at the PSYCHO NYMPH EXILE site.

WHAT TO EXPECT IN THIS BOOK:
* tentacle sex
* Kathy Acker
* the violent deaths of male genius artists, philosophers and theorists
* zombies
* sirens
* biohacking
* rampant plagiarism
* cop killing
* spells you can use at home

Sinister Wisdom 91 is a joint release: an issue of Sinister Wisdom and a trade paperback book. Living as a Lesbian, co-published with A Midsummer Night’s Press, is issue 91 of Sinister Wisdom and the second book in a new series, Sapphic Classics.

Living as a Lesbian is Cheryl Clarke’s paean to lesbian life. Filled with sounds from her childhood in Washington, DC, the riffs of jazz musicians, and bluesy incantations, Living as a Lesbian sings like a marimba, whispering “i am, i am in love with you.”
Living as a Lesbian chronicles Clarke’s years of literary and political activism with anger, passion, and determination. Clarke mourns the death of Kimako Baraka (“sister of famous artist brother”), celebrates the life of Indira Gandhi, and chronicles all kinds of disasters—natural and human-made. The world is large in Living as a Lesbian but also personal and intimate. These poems are closely observed and finely wrought, with Clarke’s characteristic charm and wit shining throughout.

In 1986, Living as a Lesbian captured the vitality and volatility of the lesbian world; today, in a world both changed and unchanged, Clarke’s poems continue to illuminate our lives and make new meanings for Living as a Lesbian.