Le mouvement féministe est un complot lesbien

Jangal est un ouvrage collectif avec la participation d’Ana Pi, Julien Creuzet, Léna Araguas et Éva Barois De Caevel. Il a été conçu lors de l’exposition « Cet ailleurs, qui rejaillit en moi, lorsque je suis là (…) » de Julien Creuzet à la galerie NaMiMa de l’École nationale supérieure d’art et de design de Nancy.

Lost & Found: The CUNY Poetics Document Initiative publishes unexpected, genre-bending works by important 20th century writers. Unearthed from personal and institutional archives in the United States and abroad, these materials are edited by doctoral students at the Graduate Center, CUNY.

LOST & FOUND SERIES VI presents work by Gregory Corso, Judy Grahn, Bobbie Louise Hawkins, and Ted Joans. While the styles and experiences of these writers are radically different, each project presented here enacts a commitment to the exploration of knowledge unbound by disciplinary constraints.

Gregory Corso: Naropa Lectures 1981, introduced by Anne Waldman, includes two transcribed and annotated lectures that illustrate Corso's vast storehouse of cultural knowledge, animating his poetics both on the page and in the classroom.

Bobbie Louise Hawkins: The Sounding Word presents two very different lectures from the Jack Kerouac School of Disembodied Poetics, and a new interview with the author. Whether looking at iconic French novelist Colette or examining the poetics of prose, The Sounding Word describes an unflinching empirical approach to knowledge and its transmission through direct experience.

Judy Grahn: Selections from Blood, Bread, and Roses explores mythic, societal, and personal relationships to menstruation throughout time, and is accompanied by a recent interview with the legendary poet, teacher, scholar, and activist.

Ted Joans: Poet Painter / Former Villager Now / World Traveller, introduced by Diane di Prima, presents an array of previously unpublished texts on jazz, surrealism, travel guides to Africa and Paris, his inimitable Negative Cowboy, and photographs from his life and times. As writers, each considers and refigures the malleable conditions of historical truth and the pursuit of knowledge as part of their creative process. And as readers, we are encouraged to do the same.

SERIES VI includes:

Gregory Corso: Naropa Lectures 1981 (Part I & II) (ed. William Camponovo, Mary Catherine Kinniburgh, Öykü Tekten)

Bobbie Louise Hawkins: The Sounding Word (ed. Iris Cushing)

Judy Grahn: Selections from Blood, Bread, and Roses (ed. Iemanjá Brown & Iris Cushing)

Ted Joans: Poet Painter / Former Villager Now / World Traveller (Part I & II) (ed. Wendy Tronrud & Ammiel Alcalay)

An exciting collection of new and selected poetry by Judy Grahn. The book contains selections from Judy's entire body of poetic work from The Work of a Common Woman, The Queen of Wands and The Queen of Swords, to new poems written between 1997 and 2008.

Judy's poetry is rangy and provocative. It has been written at the heart of so many of the important social movements of the last forty years that the proper word is foundational.

In September 2022, a young Kurdish woman, Mahsa Jîna Amini, died after being beaten by police officers who arrested her for not adhering to the Islamic Republic’s dress code. Her death galvanized thousands of Iranians—mostly women—who took to the streets in one of the country’s largest uprisings in decades: the Woman, Life, Freedom movement. 

Despite the threat of imprisonment or death for her work as a journalist covering political unrest, state repression, and grassroots activism in Iran—which has led to multiple interrogation sessions and arrests—Fatemeh Jamalpour joined the throngs of people fighting to topple Iran’s religious extremist regime. And across the globe, Nilo Tabrizy, who emigrated from Iran with her family as a child, covered the protests and state violence, knowing that spotlighting the women on the front lines and the systemic injustice of the Iranian government meant she would not be able to safely return to Iran in the future. 

Though they had met only once in person, Nilo and Fatemeh corresponded constantly, often through encrypted platforms to protect Fatemeh. As the protests continued to unfold, the sense of sisterhood they shared led them to embark on an effort to document the spirit and legacy of the movement, and the history, geopolitics, and influences that led to this point. At once deeply personal and assiduously reported, For the Sun After Long Nights offers two perspectives on what it means to cover the stories that are closest to one’s heart—both in the forefront and from afar.

A publication, durational artwork, and moving-image experience, Schtinter’s debut collection, Last Movies, is an alternative account of the first century of cinema according to the films watched by  a constellation of its most notable stars shortly  before (or at the time of) their deaths.

An extensive and exhaustive research project—a holy book of celluloid spiritualism and old canards—Schtinter questions and reconfigures common knowledge to recast the historic column inches of cinema’s mythological hearsay into a thousand-yard stare. 

Via a series of interlinked vignettes, here we’ve a book in which Manhattan Melodrama, directed by W.S. Van Dyke and George Cukor, is seen by American gangster John Dillinger, only for him to be gunned down by federal agents upon leaving the cinema. In which George Cukor watches The Graduate and dies thereafter. In which Bette Davis—given her break by Cukor—watches herself in Waterloo Bridge (the 1940 remake Cukor had been meant to direct), before travelling to France and failing to make it back to Hollywood. In which Rainer Werner Fassbinder watches Bette Davis in Michael Curtiz’s 20,000 Years in Sing Sing, and suffers the stroke that kills him. In which John F. Kennedy watches From Russia with Love at a private ‘casa-blanca’ screening prior to the presidential motorcade reaching Dealey Plaza; in which Burt Topper’s War is Hell exists only in a fifteen-minute cut, considering this is as much as Lee Harvey Oswald would have seen at the Texas Theatre in the wake of JFK’s killing.

How To Become est une maison d'édition autogérée basée à Paris. Nous publions les textes d'auteuces engagés dans des pratiques féministes et peu diffusés par le réseau des grandes maisons d'édition françaises.

Créée en 2016, elle est composée d'artistes et écrivaires en majorité gouines, HTB publie de la litterature expérimentale née d'influences post-post- sapphiques ainsi qu'un choix de tradu d'auteuices non traduites en langue française. HTB s'articule autour d'ateliers d'écriture: How to Become a Lesbian, et d'une revue annuelle publiant les choses issues de l'atelier.

The Sense of Brown is José Esteban Muñoz's treatise on brownness and being as well as his most direct address to queer Latinx studies. In this book, which he was completing at the time of his death, Muñoz examines the work of playwrights Ricardo Bracho and Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania Bruguera, and singer José Feliciano, among others, arguing for a sense of brownness that is not fixed within the racial and national contours of Latinidad.

This sense of brown is not about the individualized brown subject; rather, it demonstrates that for brown peoples, being exists within what Muñoz calls the brown commons—a lifeworld, queer ecology, and form of collectivity. In analyzing minoritarian affect, ethnicity as a structure of feeling, and brown feelings as they emerge in, through, and beside art and performance, Muñoz illustrates how the sense of brown serves as the basis for other ways of knowing and being in the world.

Starting in 1970, Jean Genet—petty thief, prostitute, modernist master—spent two years in the Palestinian refugee camps in Jordan. Always an outcast himself, Genet was drawn to this displaced people, an attraction that was to prove as complicated for him as it was enduring. Prisoner of Love, written some ten years later, when many of the men Genet had known had been killed, and he himself was dying, is a beautifully observed description of that time and those men as well as a reaffirmation of the author’s commitment not only to the Palestinian revolution but to rebellion itself. For Genet’s most overtly political book is also his most personal—the last step in the unrepentantly sacrilegious pilgrimage first recorded in The Thief’s Journal, and a searching meditation, packed with visions, ruses, and contradictions, on such life-and-death issues as the politics of the image and the seductive and treacherous character of identity. Genet’s final masterpiece is a lyrical and philosophical voyage to the bloody intersection of oppression, terror, and desire at the heart of the contemporary world.