Books

An exploration of the witch as radical archetype in ancient and contemporary life, edited by cult-favourite writer Michelle Tea.

An adult woman haunted by her childhood muses on the foster system, institutions, and the medieval tale of a girl given to a witch. A genderqueer Brooklynite learns of their past life as a murdered sorceress. An uptight participant at a Northern California witch camp finds community in the kitchen. A professor uses magic to help students under attack by right-wing politicians.

In this collection of manifesto, poetry, playscripts, and prose, the archetype of the Witch is honoured and unpacked, poked and prodded, owned and othered. From work centred in antiquity to writing that illustrates how primordial occult energies continue to enliven our world today, WITCH  lays bare a wilderness of myth, magic, trickery, and power swarming beneath the surface of contemporary life.

With work from CAConrad, Frankie Miren, Sarah Shin, Edgar Fabián Frías, Amanda Yates Garcia, Ashley Ray, Brooke Palmieri, Yumi Sakugawa, Kai Cheng Thom, Ariel Gore, Myriam Gurba, Fariha Róisín, and many others.

In recent years tech companies have turned attention into a commodity, a resource to be mined and sold.

The terms of the deal appear simple: in exchange for our attention we receive information, entertainment, and convenience. But what are the hidden costs? And what happens to our inner lives when we lose the ability to decide how we wish to pay attention?

In this essay, at once personal and polemical, meditative and militant, Julia Bell examines big tech’s wide-ranging and extractive assault on human attention, while asking how we might reclaim it. Selected by Ali Smith as one of the five most important books to navigate the next twenty years, this new edition features a new foreword by radical economist Grace Blakeley and an afterword by the author.

JULIA BELL is a writer and Professor of New Writing at Birkbeck, University of London. Her work includes poetry, lyric essays and short stories published in The Paris Review, the Times Literary Supplement, The White Review and The New Statesman, and recorded for the BBC. She has published three novels with Macmillan/Simon & Schuster US and is co-editor of the bestselling Creative Writing Coursebook (Macmillan). Her new book Between the Lines: Life Lessons from the Writing Workshop is published by Simon & Schuster in May 2026.

An electric, smart, and boldly playful novel exploring queer suburbia and the radical implications of staying put.

Herb and Lara are busy slinging coffees in their hometown – of Watford! While Herb dreams of leaving to write big gay plays for a big gay world, Lara’s dedication to being in the here and now keeps her firmly rooted. Plus she’s fallen madly in love with Cynthia, a high-femme roboteer here to finish her PhD, teaching her way through robot post-doc hell, stamping on the brains of robo-boys as she goes. Soon Watford will use Cynthia’s inventions to reinvent itself into the communised Watford Underburg, but not yet.

Meanwhile, Lazarus is back at her mum’s. Her attempt at city life didn’t exactly go to plan, and now she spends her days working on a Yiddish translation of Kurt Vonnegut’s Cat’s Cradle and playing video games. With no capacity to think about her future and trying to forget her past, what will happen? Local football coach Butch Lichenstein, that’s what.

A Pizza Hut, A Pizza Hut, Kentucky Fried Chicken and a Pizza Hut is a wildly inventive and funny novel that counters the idea of the suburbs as a place queers leave and plays out the radical implications of staying put.

A tender and daring novel about queer love, trauma, and aging, and the adult debut from award-winning YA author Dean Atta.

BIG MAN follows the life of Big, a middle-aged, Black British gay man who lives a gentle life with his boyfriend, Little, in their home in East London. Big and Little enjoy evenings out and group holidays with friends, as much as practising yoga together at home, and running side by side along the Hackney canals.

Big came of age in the club scene under the watchful eye of Mother, an African American trans woman who made a home and a name for herself in London, her house a refuge for wayward queer youth like Big. When he finds out Mother is releasing a memoir, the two reconnect after decades of distance, and Big finds himself having to confront a long-repressed assault that opens old – and new – wounds.

A tender, daring novel full of gentle humour, BIG MAN explores themes of identity, aging, sex, family, and trauma, turning a lens on what it means to age as a queer person, while being a double-edged love letter to the people and places that make us.

A dizzying, immersive portrait of a never-ending Nakba, as lived and relived by one displaced Palestinian family.

In Stockholm, Zein al-Abidin shivers, far from the warmth of revolt that simmered all those years ago in Shatila. In Paris, his son Nidal toils in solitude, ignoring his parents’ phone calls. Grandmother Nijmeh struggles to distinguish reality from dreams, and it’s left to fearless, level-headed matriarch Zahra to try to keep the family together. But daughter Salwa, with guidance from beyond the grave, digs backward in time and discovers an unlikely channel to the one place in the world she can’t go: Ayn Ara, the Abu Sukkar family’s ancestral home in Palestine.

Sara Abou Ghazal’s debut novel traces the worldwide, timewide scatter of the Abu Sukkar family in the wake of the 1948 Nakba and its displacement of 750,000 Palestinians from their homes. At every turn, their hopes of an ordinary existence are brutally thwarted by false friends, renewed violence, and memories so vivid they refuse to be consigned to the past. Building to a surreal crescendo, Dreams of Ayn Ara maps the cosmic upheaval in which Zionist settler colonialism denies Palestinians not only a homeland, but a future

THE MOST IMPORTANT CRITICAL WORK OF THE RENOWNED PALESTINIAN AUTHOR

Ghassan Kanafani’s remarkable extended essay Palestinian Resistance Literature Under Occupation, 1948–1968 is an unyielding act of cultural and political endurance. Writing in the wake of Israel’s devastating territorial expansion in 1967, Kanafani elaborates his theory of resistance literature and offers a visceral account of life under occupation. Translated for the first time into English by one of the greatest living translators from Arabic to English, Tarif Khalidi, Kanafani’s essay offers one of the sharpest social and political analyses of life in Palestine in this early period of occupation.

In the two decades following the Nakba, Palestinian writers undertook the gruelling task of advancing a cultural struggle to protect their language, culture, and heritage. In addition to Kanafani’s groundbreaking essay, the book includes a selection of poetry, prose, and dramatic writing curated by Ghassan Kanafani himself. Alongside writing from Mahmoud Darwish, Hanna Abu Hanna, and Samih al-Qasim, among many others, Kanafani’s essay and the accompanying pieces stand as a defiant declaration of cultural survival in the wake of Israeli expansion.

This first English edition of Palestinian Resistance Literature Under Occupation is a joint publication with the Institute for Palestine Studies.

A classic of Arabic fiction and of what Kanafani termed ‘resistance literature’

Three Palestinian men embark on a brutal and treacherous odyssey across the Iraqi desert to Kuwait, not for liberation but material betterment. Under the indifferent brutality of border bureaucracy and the blank aggression of the sun, things grow increasingly oppressive. Breezily conversational and disarmingly lyrical, this short novel delivers a shuddering dose of horror.

Collected here alongside the titular novella are six short stories, including the timeless, resonant ‘Letter from Gaza’, Kanafani’s first published work.

Political theorist Joshua Clover theorizes the riot as the form of the coming insurrection

Baltimore. Ferguson. Tottenham. Clichy-sous-Bois. Oakland. Ours has become an “age of riots” as the struggle of people versus state and capital has taken to the streets. Award-winning poet and scholar Joshua Clover offers a new understanding of this present moment and its history. Rioting was the central form of protest in the seventeenth and eighteenth centuries, yet it was supplanted by age of the glorious strike and labour protests of the nineteenth and twentieth centuries. From, from the seventies on, we're seen a return of the strike - now changed along with the coordinates of race and class.

From early wage demands to recent social justice campaigns pursued through occupations and blockades, Clover connects these protests to the upheavals of a sclerotic economy in a state of moral collapse. Riot.Strike.Riot is a tour de force of political and theoretical analysis.

WHAT WOULD A WORLD ORGANISED AROUND CARE LOOK LIKE?

The Care Manifesto is the fiercely argued demand to place care at the centre of our politics. Our lives are always interdependent. It is by nurturing these ties that we cultivate a world in which every one of us can not only survive but thrive. Care must be at the heart of the state and the economy, promoting collective joy, not the satisfaction of individual desire. It should inform how we work, interact with each other, and plan our cities. It is part of how we can rebalance our relationship with the natural world.

The Care Collective - Andreas Chatzidakis, Jamie Hakim, Jo Littler, Catherine Rottenberg, and Lynne Segal - was formed in 2017, originally as a London-based reading group aiming to understand and address the multiple and extreme crises of care. Each coming from a different discipline, we have been active both collectively and individually in diverse personal, academic and political contexts.

This is a book about typography and poetry, the typography of poetry. Which is to say, it is about the ways that poets have thought about and deployed the visual properties of language. It begins from the premise that the smallest details of typographic arrangement can make legible the relationship between what a poem says and does – its sounds, meanings, unmeanings – and the physical and social processes that bear upon it. The book brings together letters, manuscripts, proofs, and other archival documents that illuminate the shadow labour of textual production (editing, typesetting, printing), particularly in experimental and small-press poetry. It prioritizes documentary sources and the words of poets and their collaborators over theoretical argument, though there is some of that too.

Making Verse was edited, designed, and printed in sixteen-page signatures over two and a half years and bound in the autumn of 2026. It contains commentary on and archival material relating to Kamau Brathwaite, Karen Brodine, Emily Dickinson, Robert Duncan, Friedrich Hölderlin, Bernadette Mayer, Charles Olson, J.H. Prynne, John Wieners, and others. With contributions by Andrea di Serego Alighieri, Susan Howe, Rietlanden Women’s Office, Samuel Solomon, and Keston Sutherland.

The longest entries in its index are “labour,” “line (poetic),” and “spacing (typographic).”

Listening Glossary explores the many meanings and practices of listening. In an era shaped by climate crisis, war and deepening social inequalities, listening is increasingly called upon to bear witness – to melting glaciers, disappearing species, militarised borders, extractive infrastructures and other forms of violence and loss.

This glossary is a practical guide to listening as a social, political and imaginative practice. It gathers over two hundred terms from art, ecology, activism, psychology, education and philosophy across nine decades of thinking about listening as a way of relating to others, environments and structures of power. Entries invite listening through another’s ears or from specific perspectives, encountering forms of listening that range from the non-cochlear to the interspecies. Together, these entries reveal listening as a critical method for understanding and transforming the worlds we inhabit.

The name Rong Xin comes from a mini-mall in Flushing that cannot be found on any map. The facade of the mall immediately brings people back to 1980s and 1990s China. Shops stand side by side, dominated by a massive, eye-catching wall covered in recruitment and rental notices. This is indeed the very first landing spot for many new immigrants arriving in New York, where they get SIM cards, search for jobs, and embark on their new, uncertain journeys.

In 2023, several artists/collectives held an exhibition titled “Home-O-Stasis: Life and Livelihoods in Flushing” inside Rong Xin Plaza. The artwork were ingeniously interwoven with the daily details of the mall, creating a subtle dialogue between art, the vibrant bustle of everyday life, and the surrounding reality. Finding ourselves once again in 2026, amid a tempest of screening and deportation against immigrants, how should we engage in conversations about this complex and volatile community? Rong Xin Plaza is not only a microcosm of this community, but also a tangible thing that people can hold onto amidst the maelstrom that is our reality. Rong Xin invited ten artists and scholars, including participating artists, to re-create works spanning short stories, games, self-narratives, interviews, and photography. Through various details, the book outlines the trajectories of new immigrants from arrival and wandering to employment and settlement. Through the nuances of reading and design, one temporarily traverses the intersecting streets and alleys of Flushing, finding a transient sense of security.

Contributors:  Herb Tam, Lu Zhang, Xiyadie, Ryan Muchen Wang, Xueli Wang, Janice Chung, Anne Wu, Ou Ning, Yuki He and Qianfan Gu from Mamahuhu

Editors: Michael Guo, Kechun Qin, Herb Tam, Lu Zhang

The moment human fingertips lifted from the ground, upright walking became a privilege rather than a mere posture. The liberated hands could now be used to create tools for defense and hunting. The pupils’ gazes shifted from a level view to a downward perspective, a physical change that also translated into an awareness that overlooked other species. The spine, situated at the center of the human body, acts like a covert ruler, measuring the scale of evolution and supporting the illusion of being “human-centric.” Thus, humans stand, placing themselves far above all other creatures. Following this profound gestural revolution came the imagination and manipulation of non-human animals (the Others), turning them into livestock and companions, as their wildness was rewritten as docility. Their bodies became resources to be medicated and refined, transforming into instruments for milk and nutritious meat production. They became basic knowledge and research data, linking humanity’s ever-expanding and illusory colonial territories.

Discussions and attempts to understand often struggle to escape the limitations of human centrism. Trapped in a persistent ethical dilemma, we find it difficult to navigate the unequal power dynamics that confine us. As the urgency of environmental and ecological issues intensifies, a question repeatedly emerges: Is it possible for us to construct a relatively equal multi-species world? Can we, with greater humility and introspection, relearn how to coexist with the Others? This fourth issue does not offer answers; instead, it comprises reflections and imaginations, as most contributors have long-standing experiences with or ongoing research on non-human animals. Through observation, education, painting, writing, and image-making, they seek to loosen the existing “ethical relationships” and “orderly rules.” Returning to the interior of the body, each vertebra of the spine accumulates traces of human transitions and memories that have yet to dissipate. However, the spine has never fully completed its evolution; its flaws are evident, and the hidden pain it causes always accompanies the body. Perhaps it is this persistent pain that continually reminds us that suffering, which may seem unrelated to us, can be perceived anew from the fissure of spines. By stepping into the bodies of Others, to feel and acknowledge them, a slow exchange occurs that reopens our imagination and generates a relationship that has yet to be named.

Contributors:  Eva Koťátková, Hsu Che-Yu and Chen Wan-Yin, Victoria Soyan Peemot, Sha Shuang, Liz Pui Yee Chee, Robert Zhao Renhui, Qindi Hu, Chuangbin Chen, Lei Zhu, Wantanee Siripattananuntakul, Boria Sax, Candice Lin and Justin Torres
Assistant Editor: Jierui Ou
Designer: Can Yang

These powerhouse novels from Catalan superstar Eva Baltasar tell wild, delirious tales of queer women blazing new trails through sexuality, motherhood, and friendship.

The roving narrator of Permafrost trades one home for another – moving around Europe in pursuit of liberation, sex, self, and autonomy. In the International Booker-shortlisted Boulder a woman gives up her job as a Chilean fishing boat’s cook to move to Reykjavik with Samsa, the woman she loves. But when Samsa decides she wants to have a baby, she must decide whether this domestic idyll is what she is really looking for. In Mammoth, a young, disenchanted lesbian is looking to rearrange her life. She seduces a string of random men in an attempt to get pregnant and moves to a remote farmhouse to take care of sheep, battle stray cats, dabble in sex work – all in search of a more powerful, deeply felt life.

Originally published in 1987, and out of print for many years, Kicking the Pricks is a key work in Derek Jarman’s oeuvre, documenting the making of one of his most important and politically-charged films, The Last of England.

Featuring diary entries, interviews and notes from the script of the film alongside writing about his childhood, his father, the process through which he came to terms with his sexuality, his work as a painter and designer, and his debut as a film director, it is one of Jarman’s most radical publications, reflecting unsparingly on what he saw as the corruption of the cinema industry, the moral and personal consequences of AIDS, and Thatcher’s Britain.

This expanded edition features numerous archive photographs, a preface by Jarman’s companion the late Keith Collins, a new suite of poems by Richard Scott, and an extended essay by Jarman scholar Declan Wiffen. It also includes the first-ever publication of an interview with Jarman from 1988, conducted and contextualised by film producer and researcher James Norton.

‘Sleep thief is what the interrogator called me. I’ll never forget that. I would steal a few seconds of sleep so I could remain steadfast before them. The name stuck; I even dreamt about it, the same dream, night after night. I woke up not knowing what to do and drenched in sweat.’

The experimental first novel from International Booker-Prize longlisted Palestinian author Ibtisam Azem, The Sleep Thief follows the life of Gharib (“the Stranger”) Haifawi as he comes of age, is drawn into resistance, makes friends, meets lovers, pushes back against traditional values, longs to be free of the labels and expectations that burden him, rails against the commodification of suffering, and dreams of a Palestinian identity that will transcend sorrow.

In Language of the Night, Ursula K. Le Guin reflects on genre and the ethical work of writing, championing the imagination as a vital instrument of freedom. Illuminating the making of major works such as A Wizard of Earthsea and The Left Hand of Darkness, Le Guin argues for science fiction and fantasy as literary modes that sustain philosophical, political and emotional inquiry.

This wide-ranging collection considers artistic responsibility, the uses of myth, the craft of storytelling, and the role of the writer as teacher and public intellectual. It charts Le Guin’s emergence as one of the defining literary voices of the twentieth century, while also considering what she calls the ‘journey of self-knowledge’ – a psychic and moral journey into the unconscious, whose perils and rewards are best expressed through the symbolic language of dreams, fantasy and fairy tales.

In this refusal of futurity, Ursula K. Le Guin offers a counter-imaginary of place. She takes a non-linear journey through the stories we tell about progress and history, showing a way out of forward-oriented colonial modernity and its doctrine of technological utopias. Drawing upon Taoist philosophy and Indigenous storytelling, she advocates for anti-heroic alternatives to myths of endless growth.

Through Le Guin's characteristically playful prose, A Non-Euclidean View of California as a Cold Place to Be shows that how we write is inseparable from how we imagine worlds, revealing the possibilities of living differently here and now.

The debut-novel of the Lebanese-born and Berlin-based writer Edwin Nasr—a "work of hysterical fiction."

Ali, a self-denigrating Catholic and unruly homosexual who immigrated to Berlin almost a decade ago from southern Lebanon, stands accused of assaulting a police officer during a Palestine solidarity demonstration. Caught in a suspended present as he faces possible deportation from Germany, Ali prepares to bid his goodbyes to a city in ebullition. The many people in his life pierce through the dense fog of days: Francesco, an Italian ex-boyfriend afflicted with the malady of hope; Samira, his tenacious confidante and the bearer of her Syrian community's burdens; and, somewhere far away, his father Karim, who took arms with the communists against the Israeli occupation in the 1980s. There are also the Germans, and the beast that slumbers in them—who knows what it remains capable of. Carried by tragic humor and political reckoning, Fear Eats Ali is a forthright novel about the time and place of resistance, the debt one carries in its wake, and the helplessness of men in the face of immense historical transformations

"Edwin Nasr has written a great war novel that draws us into the exhausting venality of German Staatsräson and into a complex world of transnational solidarity and anti-colonial struggle. What does it mean to fight and fail and start again? This is the crucial question of Fear Eats Ali—a book for our historical moment, a book that needs to be read." — Avery F. Gordon, Professor Emerita University of California Santa Barbara, author of The Hawthorn Archive (2017) and Ghostly Matters (1997/2008)

"Indignant and charming, Nasr's prose is unforgiving in its excavation of the paradoxes by which political agency is wrested from us at every turn. Prescient, razor-sharp, and radiant." — Juliana Huxtable, author of Mucus in My Pineal Gland

Edwin Nasr was born in 1994 in Haret Sakher, Lebanon. He lives and works in Berlin, Germany. His writings on politics and contemporary art have been published in Bidoun, n+1, Afterall Journal, The Funambulist, Mousse Magazine, and Mada Masr, among others. He is the Senior Editor of Palestine is everywhere (TBA21, Silver Press and the87press, 2025) and translates from French to English for different publications.

The second volume of the journal investigating movement-based listening practices that take the forms of militant inquiry and political education, edited by the international sound art and popular education collective Ultra-red, is dedicated to the "Learning Circles for Palestine."

Contributors reflect on the current Palestine conjuncture several years after solidarity actions spread across university campuses around the world. It is now clear that the crackdown on student activism was a pretext for the dismantling or capturing of public institutions. The move against dissent also provided common ground for neofascists and liberals to enforce a consensus with imperialism.

The second volume ofUltra-red begins by pairing poems from Palestine with poems detailing the attacks on pro-Palestine students on university campuses. The journal then moves into its main feature: a dozen conversations with student and community groups. Each conversation is framed as a learning circle in which reflections shape critical questions and mark contradictions that speakers (and journal readers) continue to consider in the present moment. These learning circles come to the journal largely from contexts where Ultra-red members are involved in anti-capitalist and anti-racist base-building in Los Angeles, New York, London and in Novi Pazar. Additionally, we hear reflections on the Palestine conjuncture from the Bethlemen-based scientist and public-educator, Mazin Qumsiyeh as well as Palestinian Liberation Theologian and popular-educator, Omar Haramy. Through a list of listening protocols, the journal also offers a guide for readers to pursue their own learning circle for Palestine.

The journal continues with a special section titled, "The Case of Apartheid South Africa and Israel." This section combines historical and personal reflections on the anti-apartheid struggle in South Africa with a photo essay on anti-apartheid solidarity in the U.K. from the 1950s to the 1980s. Both articles underscore the historical links between South Africa's apartheid government and the state of Israel and the alliances established between anti-apartheid and Palestinian liberation movements.

The journal concludes with new dispatches from ongoing militant investigations. We read about Southern Italy where activists attempt to build a movement across multiple struggles from anti-extractivism to farm workers. A dispatch from the direct democracy movement in Serbia. And, an oppositional research detailing the role of neofascist operatives in pursuing hegemony in the U.S. by targeting poor people's movements and capturing university infrastructure and curriculum.

This volume of Ultra-red is edited by Dont Rhine and Robert Sember in collaboration with Zissel Aronow, Janna Graham, Chris Jones, Zoe Kisselbach, Elliot Perkins, and Araceli Veloz, and it includes numerous contributors.

Edited by Dont Rhine and Robert Sember in collaboration with Zissel Aronow, Janna Graham, Chris Jones, Zoe Kisselbach, Elliot Perkins, Araceli Veloz.

The second book in the "Brookinette" children's book series (published by Brook), We Look Alike is a book for little ones and older children alike that tells the story—through the drawings of Dutch artist Kinke Kooi—of encounters, friendship, and little mistakes, featuring a cast of snails, flowers, fruits, and ladybugs.

Kinke Kooi felt lonely in what she saw in books, stories and movies: the images never seemed to look like her. That's why she started looking at nature and gardens to find recognition. With pencils and paint, she composes a world whose shapes recall bodies as much as landscapes. Colours sounding like feelings. Often, she wonders how to represent emotions.

We Look Alike is a bilingual book in French and English, a conversation between two creatures who see each other but sometimes make mistakes, oopsy. It evokes hope for transformation in stories: encounter, recognition, friendship and little mistakes. "Am I you when you are me?" wonders a choir of flowers, snails, fruits and ladybirds, just to mention a few.

The text was written by Rosanna Puyol Boralevi based on the titles of works and conversations with Kinke Kooi, Marion Vasseur Raluy, and Alice Schneider.

Kinke Kooi (born in 1961 in Leeuwarden, lives and works in Arnhem) is a Dutch artist who creates sensitive, organic works that blend drawing, watercolor, and collage, in which bodies, flowers, and seashells merge in a world that is both sensual and poetic. In her pictorial work, Kinke Kooi magnifies the details of human bodies, animals, and plant elements—all depicted without hierarchy. A staunch feminist, she explores themes such as confinement, hospitality, metamorphosis, and our relationship with nature, prompting reflections on difference and empathy.

Rosanna Puyol Boralevi is a French poet, translator and editor. Co-founder of Brook editions, she publishes translations of texts inspired by feminist and anti-racist struggles, a literature that is both poetic and analytical. She collaborates with artists on exhibitions, video and performance programs, and organizes reading groups, writing and translation workshops, often with friends.

An invitation from Mudam Luxembourg to consider the place, role and future of cultural institutions in the twenty-first century.

This publication collects and preserves the ideas put forward during the symposium "A Model: Reimagining Museums," which took place at Mudam – The Contemporary Art Museum of Luxembourg, in June 2024. The convening explored the mission of museums today and examined how contemporary institutions can continue to serve as sources of culture, preservation, education, and community in the future.

The symposium marked the final chapter of a broader program dedicated to examining the museum as a model. The series was introduced by "A Model," a three-part exhibition curated by Bettina Steinbrügge that reflected on the role of the museum in the twenty-first century, reaffirming the need to consider the institutions a dynamic, living place, sensitive and receptive to contemporary debates. It also considered the possibilities that arise when museum collections are reimagined as active and performative environments. More than thirty artists were involved – some conceiving new commissions, others responding to works in Mudam's collection.

Texts by Giulia Bellinetti, Clémentine Deliss, Ben Eastham, António Mendes, Florence Ostende, Agustín Pérez Rubio, Bettina Steinbrügge.

Foreword by Bettina Steinbrügge; interviews with Claire Fontaine, Bettina Steinbrügge.

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Isabel Carvalho, Tomás Cunha Ferreira / Vapor Praia, João Polido, Clara Amaral, Sílvia das Fadas / Cinema Fulgor, Marta Ângela & Nu Nu Pinto / Marte i Núpiter, Okbooks! (Elsa Baslé, Leyre Léon, Chloé Gourvennec) & Mila Landreau, Pedro Barateiro / Spirit Shop, Meg Stuart, Vera Mantero, João Fiadeiro, André Lepecki, Ana Jotta, Arnaldo Antunes, and with the participants of The and's Edition: Oona Wilkinson, Sara e Tralha, Thijs Vleeschouver, Joana de Sá, Anton Ripon, Inês Barros, Anatole Prost, Maxence Junin, Nuno Beijinho, Ieva Ģertrūde Vītoliᶇa, Laura Gama Martins, and Will Gibbs.

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Olga Mesa, Francisco Ruiz de Infante, Mette Edvardsen, Clara Amaral, Pedro Barateiro, Samuel Nyholm, André Lepecki, and the participants of Errata's Edition: Guilherme Figueiredo, Alice Serrazina, Guiherme Curado, Mafalda Riobom, Fábio Pombo, Alena Koleso, Gaspar Cohen, Andreia Matos, Stéphane Lambion, Ieva Ģertrūde Vītoliᶇa, Agathe Mathel, Malva Askerup, and Laura Gama Martins.

A book by Sara Vaz & Marco Balesteros, Provisional School for Nothing.