Books

Some ruins are invisible. 

Under the pavements of Paris there lies buried an ancient river, the Bièvre. For years, Lucy Frost has walked along these streets, unaware of the water and history under her feet, on her way to clean the apartments of Paris’s academic class. As she begins to study and transcribe the inherited notebooks and papers of her great-aunt, a teacher and researcher who disappeared years earlier, she commits to continuing her aunt’s youthful research on the Bièvre, mining the river’s documentary traces in the works of Rousseau, Rabelais, Hugo, Chateaubriand, and the like. She uncovers a history of industry: paper mills, dyeing workshops, tanneries, and textile manufacturers – and laundries. 

She finds resonances of her own labour in the history of the river’s laundresses. On stolen time at work, and in her insomniac hours of nightwriting, she fills notebooks with these woven stories and descriptions of obsolete sites, textiles, cosmologies, and voices, constructing her own forms of relation with the lost.

Riverwork unearths not just an urban river but also a philosophy of research and the archive, a politics of hydrology, an ontology of ageing and belatedness, and a consideration of the unrepresented labour of women, past and present. Along the way it brings to life, in pyrotechnic prose, a long-gone Paris and both its domestic workers and its writers.

Contributions by Jerry Ahn, Han Ok-hee, Han Soon-ae, Lilian Gonzalez, Kim Jeon-seon, Miss Lee, Lee Jeong-hee, Hansen Oh, Yun Park, Seonha Park, Sun Hyejeong, Wang Gyu-won.

Bulletin B is a bilingual editorial project gathering artistic and cultural productions from Korea and its diasporas, with a focus on queer and womxn voices. Borrowing the spirit of an unofficial newsletter, it surfaces when it needs to; assembling poetry, prose, and cultural fragments across time. 

Rooted in translation as a practice attentive to power, history, and silenced voices, Bulletin B reconstructs fragmented lineages and constellations of reference through irregular acts of dissemination and exchange, tracing how narratives move between languages, contexts, and material forms.

In celebration of February 21st, International Mother Language Day, we’re happy to present our new yearly magazine: μητρική γλώσσα (Mitrikí Glóssa) / Lingua Maternal / (Leşono Emhoyo)  ܠܫܢܐ ܐܡܗܝܐ / Anadil / Mother Tongue. 

Our first issue gathers three mother languages within Turkey and their dialects : Anatolian Greek, Ladino and Syriac. With an interest in everyday life, personal memories and cultural production, Mother Tongue Magazine brings together people who work and produce in these languages along with contributors who speak them, are learning them or never had the chance to learn them, embracing plurality over standardisation. Given the discourse surrounding the survival of these mother tongues, we are especially delighted to have received contributions by so many young people that are striving to keep them alive!

With contributions by: Lukas Aktaş, Nesi Altaras, Nektaria Αnastasiadou, Syrian Cassette Archives, Dilara Lüle Baklacıoğlu, Onur Çimen, Alp Etensel, Atra Givarkes, Fayrouz Library, The Pontian Library, Sara Jajou, Isla Hanna Karademir-Khoury, Iokasti Kyriaki Zografou Mantzakidou, Melisa Yağmur Saydı, Münir Tireli, Lîs Yayınevi, Beni Yorohan

Design / Illustration: Bilge Emir

"Alphabet Soup" collects the sayings of two multilingual girls as written down by their poet father. As their Turkish-German-Russian-American family moves from New York to Berlin, the girls communicate in a witty and colorful language of their own, effortlessly mixing words of different origin. Does who we are determine the way we speak — or is it the other way around? Alphabet Soup shows us the girls’ language as it changes, letting us witness their metamorphoses from toddlers to teenagers. 

With an essay and poems by the author. 

A co-publication with Rab-Rab Press (Helsinki).

A new future for Mexico depends upon unearthing what colonialism has buried below the ground.

Situated deep within the ontological turn, this book brings together the philosophical anthropology of Descola and Viveiros de Castro, with the discourse that runs, through Heidegger, towards the world-building technics of Yuk Hui. Through a detailed study of the sacrificial and symbolic practices of Warfare & Hunting, Lou Manuel Arsenault uses these philosophies as tools to uncover a Cosmotechnic of the Aztecs.

In the cosmology and way of life of Nahuatl-speaking populations of the Valley of Mexico and the surrounding regions during the post-classical period, Warfare & Hunting were inseparable ritual practices within which the distinction between beings—Human, Jaguar, and Deer, or Aztec, Mimixcoa, or Mother and Enemy—became blurred. Articulated here as an Aztec Cosmo-Technique of identification, it is argued that these ritual practices enacted a world with its own destiny, one which was trampled by colonial violence. Yet this destiny—Batalla’s “Deep Mexico”—lies dormant, buried underground, buried in the literature, and in the archaeological record; this book works to unearth it.

This book proposes a reversal of a common convention within contemporary critical theory, the idea that desire is an entropic, creative and potentially emancipatory force. Against this view, the author figures desire as negentropic, structured around stability, prediction, and calculation. Far from being disrupted by technocapital, this desire finds there a troubling affinity, and is seemingly propelled towards increasingly self-destructive forms. Retrograde Prometheus, part a poetic narrative, and part speculative treatise, seeks to reformulate these categories through which we understand desire, along with all the existential, ethical, and political implications that such a radical change in perspective may entail. 

So much has changed since Anti-Oedipus (or even since Anti-Narcissus!), let alone since the Seminars of Lacan—the amount that has changed since Freud, therefore, is unimaginable. Where is psychoanalysis today, post-internet, post-covid? What has changed for the subject (as well as how we understand the subject) due to these advancements in technology and science, with these changes in how we understand our history and genesis, and with how we understand the relationship between technology, language and worlds?

Retrograde Prometheus tells a story of psychoanalysis today—two decades into the Ontological Turn—and its encounter with computation, advancements in quantum theory, with Exocapitalism, with pluralism, and so on.

Mud … and the Earth System explores groundbreaking research in Earth system sciences and highlights the challenges of communicating these findings to the public.

As once-stable “mudscapes” transform, they become both symptoms and symbols of a rapidly warming planet. This book delves into humanity’s connection to these changes through the study of ancient organic and inorganic compounds that have come alive after millennia. It poses essential questions about what these evolving ‘mud’ compounds reveal about Earth’s deep past and our imminent future.

Born from collaborative research led by artist Rikke Luther at the Interdisciplinary Research of Ocean, Climate and Society (ROCS) at the University of Copenhagen in collaboration with Earth scientist, Professor Katherine Richardson, this publication showcases how artistic practices – such as image-making, conceptual mapping, and filmmaking – enhance scientific representation.

Mud… and the Earth System features commissioned essays from experts in Earth Science, Political Aesthetics, and Molecular Geobiology. The book pairs their insights with compelling artwork, including large-scale maps of emerging ‘mudscapes’ in Svalbard, Iceland, Greenland, and Gotland.

The essays give perspectives on the DNA that is collected and stored in mud, which connects life across timescales as an evolutionary resource framing the interactions of human societies with the extreme complexities of the Earth system. Esther Leslie’s “Mud Crystal and Polar Thinking” sets the scene, followed by Karina K. Sand’s “Death and Life:  in Mud: Two Million Years in a Split Second,” and Earth scientist Katherine Richardson’s contribution “A Muddy Diary.”

As Richardson sums up, “Mud is an important medium for storing the archives that describe the history of both life and climate on Earth, and we are only just beginning to understand the fantastic stories that mud can tell.”

Contributions by Esther Leslie, Rikke Luther, Katherine Richardson, Karina Sand

The publication of the winners of the Villa Romana Prize has taken the shape of four distinct yet interrelated booklets – an editorial series continuing the tradition of the institution to offer a space for the dissemination and reverberation of the research and work of the Villa Romana Fellows after their ten-months residency in Florence.

Each year, four selected artists are invited to live and work in the same house that, since 1905, generations of artists have continuously inhabited. They always come as a group – a constellation of four people – but all as singular artists. The opportunity of yearly publishing their work in a bundle of four separate books and within an open series allows for a larger combination of echoes across the generations of Villa Romana Fellows. A further occasion for “being singular plural.”

Contributions by Elena Agudio

Art Law draws on forty years of practice to empower and encourage creators, authors, and artists to understand, protect, and exercise their rights. It illustrates key aspects of art law by expanding on specific legal cases. Whenever an artist brings a case to court, that case has the potential to clarify and expand the rights of all artists. Each legal decision not only educates the public and the judiciary about the challenges faced by artists but also highlights the importance of applying the law to safeguard their rights.

In examining the role of justice in artistic activities, we must acknowledge that justice is achieved through legislation and individual case rulings. These are the mechanisms that artists can activate. Favorable judicial decisions can have a wide-reaching impact on both artists and society. However, the court remains a passive entity until an artist brings a case to stimulate a decision. Thus, litigation can serve as a form of activism that prompts a ruling. Although it can be difficult and expensive, it is an effective tool that is accessible and potentially beneficial to all. This compendium provides the knowledge necessary for creatives to work freely and securely, understand their rights, and avoid self-censorship and exploitation.

Contributors: Jenna Jordan, Esq., Bara Diokhane, Esq., Timothy Caron, Esq., and Kevia McComb

Things Bigger Than What Can Be Seen is a collection of Oraib Toukan’s essays, translated to Arabic for the first time. In close dialogue with Palestinian pedagogue Munir Fasheh on the topic of turbeh (local soil in Arabic), Toukan crafts a haptic perspective on images from what she terms their ‘soil grain’.

Building on the notion of ‘praise,’ Adama Delphine Fawundu frames this book as a celebration of life. She honors the stories whispered to her by her mother; she adorns her body in her grandmother’s textile work; she elevates the memory of various named and unnamed Black women of the diaspora and documents the iconic small Civil War era styled white wooded praise house on a patch of land off the side of a road in South Carolina not far from Beaufort creating an intimate body of work of color photography of an interconnected history.

This book about female figures—grandmothers, mothers, daughters, artists, caregivers, storytellers, and cooks—explores a range of emotions that consume us about family life and history. It is both an art book
and a memoir. Viewing it brings us face to face with known and unknown cultures and introduces us to various art practices shared, taught, and learned through the African diasporic traditions. Fawundu connects to the self through history, joy, and beauty and offers the reader ways to navigate fear based on migration and loss. It is a gift, too, as it allows us to imagine alongside the artist.

Adama Delphine Fawundu is an artist based in Brooklyn, NY of Mende, Bubi, and Krim descent.
Through photography, video, textile-based sculptural forms, and performance, she creates embodied entities inspired by Indigenous knowledge systems and spiritual retentions across time and space. She co-authored the book MFON: Women Photographers of the African Diaspora. She is an Assistant Professor of Visual Arts at Columbia University.

Edited by Chiara Figone

Contributions by Mistura Allison, Berette S Macaulay, Niama Sandy, Bonaventure Soh Bejeng Ndikung, Deborah Willis

Sustaining the Otherwise is a collaborative research and artistic project about restitution, reparation and transformation taking place in multiple locations over several years. Initiated and conceptualized by researchers and curators Amal Alhaag & Selene Wendt, it offers a space for artists, activists, scholars and writers to be in dialogue and to explore the topic of restitution in relation to both material and immaterial culture, through a program that frames restitution within the context of contemporary art practice.

Edited by Amal Alhaag & Selene Wendt

Featuring an introduction by Amal Alhaag & Selene Wendt as well as provocations, reflections, and essays by Barby Asante, Michael Barrett, Quinsy Gario, Sana Ginwalla, Aude Christel Mgba, Lennon Mhsishi, Ogutu Muraya, in addition to a sonic contribution by Robert Machiri. 

In GERMAN STAATSTHEATER, thirteen performers set up a world in which stress, ambition and absurdity follow each other at a rapid pace. The creators Rosie Sommers and Micha Goldberg are inspired by the monumental German state theatre: a tradition full of great emotions, huge player ensembles and serious dedication. They use that intensity as a springboard to investigate how workload and expectations put our bodies — and our society — under high voltage.

Rosie Sommers (°1995) is a theatre maker. She graduated from the KASK. Until 2022 she worked in Volksroom, an off-space for performance art (Anderlecht, Brussels) and is active in the music scene with the girls band Forsissies. Rosie worked with theatre makers such as Thomas Ryckewaert, Bosse Provoost, Amanda Piña, Phoebe Berglund, Benjamin Abel Meirhaeghe, Gaël Santisteva, Nathan Ooms, Anna Franziska Jaeger, Micha Goldberg, Sophia Rodríguez, Tomas Gonzalez, Igor Cardellin and De Warme Winkel.

Micha Goldberg (°1983) is a Norwegian performer and theatre maker. He studied physical theatre at the Accademia Teatro Dimitri in Switzerland and attended a master’s degree at the RITCS in Brussels. He worked with Sophia Rodriguez, Ivo Dimchev, Lea Moro, Rosie Sommers, Simon van Schuylenbergh, Jozef Wouters and Simon Baetens. In 2016 he founded Micha’s Amateur Theater Group (for professionals), who made a retrospective at the Batard festival as early as 2018. From 2013 to 2022 he was co-host of Volksroom (Brussels).

"Marie’s fragrance, smashed out of the bottle for another breath. We should always doubt that the air is pure. We should always doubt that the air is not." 
–Alexandre Curlet

Includes an excerpt from Josh Barber's "Omnipotence".
Published as part of Paraphernalia and Addenda 2.2 of Tabloid Publications.

"Desperate and playful. This iterative poetic series cries through the panic of now to bestill an ecstatic people. Paranoid Citi finds no doubt that if understanding is a matter of form, survival necessitates transformation." - Crystal Odelle, author of Trans Studies

"Who doesn't like to post ethereal lightly? Who isn't a citizenry draped in lilac ethics? Are you a froth? In Shannon Hearn's PARANOID CITI, an interrogative story is shaping up. She's uploading music for grace in crisis. She's writing poems for you, citizen, and kindly so." - Nick Sturm

Includes a bag tag and drawing by Elise Houcek.
Published as part of Paraphernalia and Addenda 2.2 of Tabloid Publications.

"Like the Elizabeth Bishop painting “Interior with Extension Cord,” Kelly Clare’s helical, light-filled Universal Product Code delicately traces a bewildering infrastructure. This incantatory song, “busy in green,” points its reader to the disturbing beauty in stripey checksum barcodes, to arrays of imported figs at the grocer, to words like cloud or lime that now mean too much. Humorous, musical, perspicacious, this chapbook rocks."

- Katherine Gibbel, April 2026

Includes 3 poems by Dre Roelandt.
Published as part of Paraphernalia and Addenda 2.2 of Tabloid Publications.

The first publication dedicated to Glissant's art collection and project for a museum of memory-in-transit. 

Titled after Édouard Glissant's (1928–2011) anthology, La Terre, le feu, l'eau et les vents (2010), this publication offers a polyphonic extension of the writer's foundational thinking on art to museology, philosophy and poetry. The Museum of Errantry reflects Glissant's conception of the museum itself as an archipelago—a space open to ruptures, disappearances, and reinventions without forced synthesis. The Earth, the Fire, the Water, and the Winds features detailed artist entries, archival fragments and visual documents to illuminate the many relational, diasporic, migratory trajectories that inform Glissant's personal art collection and meditations. The volume also features never-before-published excerpts from L'Abécédaire d'Édouard Glissant (2008), a long-form recorded dialogue between the author and acclaimed Martinican writer Patrick Chamoiseau, as well as a facsimile of Notebook of a Journey on the Nile (1988), a poetic-philosophical travelog composed during a felucca trip through Egypt.

Edited with text by Ana Roman, Paulo Miyada. Foreword by Sylvie Séma Glissant, Mathieu Glissant, Isabelle Vestris, Manuela Moscoso, Anne Louyot. Text by Catalina Bergues, Patrick Chamoiseau, Sabrina Fontenele, Édouard Glissant, Cecília Vilela.

Could a narrative hole, this moment where the text stops, be a text-mouth? We speak of (written) text having a body, a head(ing), foot(notes), a voice. And if there's a voice there could be a mouth, too. A mouth that speaks/voices into the body of the text. A speaking hole for once, not a gap, a caesura, a lacuna, a wound, but a hole endowed with a voice— or voices.

At the limits of language, a hole opens and voices meet, channelled from the abyss through temporalities and histories. Jacques Lacan analyses the wounded text; Hélène Cixous whispers to anarchist poet Katerina Gogou; theorist Carla Lonzi, artist Chiara Fumai, and her army of women dissidents invade the symbolic realm of father, state, law, and religion.

A canon of disorderly voices from philosophy, psychoanalysis, poetry, and fictional characters converse, connected by the appearance of K. The Hole is an epistolary work written in multiple forms, approaching the unsayable in a jouissant textual body, considering broken narratives and minor literatures through an investigation of (textual) holes, wounds (trauma), and the mouth (voice/language). Poetry operates as strategy of resistance and revolt, against systemic power structures and against closure. Wounds must stay open to speak.

A synthesis of dreamwork and bookwork, combining collaboration with dream-vision report, creative writing, and AI—a “Media Archaeology of Dreams.” Its central character is the author’s voice in this process through ekphrasis. What/where is the separation between the ekphrastic object, the dream, and its description?

This expanded new edition of Carla Harryman's early-'00s classic, OPEN BOX, features a new introduction by Rachel Levitsky and new afterwords by erica kaufman and Carla Harryman. 

GRNN alert just in—Joseph Cornell is doing the can-can over the delicious debris organization in Harryman’s OPEN BOX. This dance of demi-characters—half half, semiquaver, three hooks quarter—places (a State) under an obligation not to maintain armed forces. Next up: removing oneself to another place; migration.
—Tina Darragh

Carla Harryman’s Open Box is a meditation-in-process on the possibility of a poetry available to cultural, social and political critique that does not unwittingly reinscribe the political, social and cultural formations (textual and otherwise) against which it is posed. Because Harryman wants to preserve a ‘place,’ if not ‘places,’ for an aesthetic and procedure resistant to reification, she deploys improvisation as writing, as textual practices open to the future and, more ambitiously, to the past, to the written.
—Tyrone Williams

Carla Harryman is an innovator in interdisciplinary performance, poetry, and prose. She has authored seventeen books including W— /M— (2013), Adorno’s Noise (2008), Gardener of Stars (2001), and the multi-authored work The Grand Piano, an Experiment in Autobiography: San Francisco, 1975-1980. Her Poets Theater, interdisciplinary, and bi-lingual performances have been presented nationally and internationally. She has received many grants and awards including from The Foundation for Contemporary Art, Opera America Next Stage, Fund for Poetry, and The Wallace Alexander Gerbode Foundation.

Carla Harryman is also the author of The Wide Road, a collaborative book with Lyn Hejinian (Belladonna*, 2011, reprinted 2026).

What would have happened had Thelma and Louise not driven off the cliff but stayed on the road? In Carla Harryman and Lyn Hejinian’s picaresque novella, friendship lives on to follow eros through a polymorphic landscape where their fearless, inquisitive “we” encounters “hunger in two places at once.

The Wide Road is a collaborative investigation of the female body, friendship, writing, community, activism, travel and the nature and possibility of human thinking.

Carla Harryman and Lyn Hejinian, two of the most honored innovators of language, began writing The Wide Road in 1991. Over the following twenty-years, the co-writing occurred in turn by letters, by walking, in cabins, together and apart, and finally together again. The reader of this original and major work will find that it is no longer possible to distinguish who wrote what. Instead, one finds a joyful new feminist voice breaking out new possibilities for the future of writing.

The event of the making-writing of this book is now matched by the event of the making-book object of the book, for which the artist Nancy Blum drew two botanical panels, the fruit and the flower of the strawberry tree. HR Hegnauer, in discussion with editor, Rachel Levitsky and the authors, came up with two designs, and in celebration of the book’s multiple origins, Belladonna* Collaborative printed both!

Traduction d'un essai original de Thalia Vacha, publié le 11 mars 2025 sous le titre No Cis Person Will Read This Essay, via son compte Substack @transexile. 

Ce texte est rugueux, sinueux, urgent, complexe. Mais ce que nous y avons trouvé en le traduisant dépasse ce potentiel abrasif. Pour son autrice, être trans, c'est surtout une façon de faire relation : la transitude est un désaccord, mais aussi un engagement. Transitionner, c'est-à-dire (entre autres) désavouer un système normatif de genre qui nous enserre et nous sépare, peut se faire et se penser de plein de manières différentes, et toutes ces manières nous distribuent sur un spectre qui, paradoxalement, serait à même de nous rassembler. 

C'est un texte propre à dissoudre nos mauvaises fois et réfléchir la politisation de nos identités sous un nouveau jour. 

From award-winning novelist and cultural critic Lynne Tillman, Paying Attention is the first collection of essays devoted to her incisive, provocative, and singular reflections on art and culture.

Paying Attention gathers more than fifty of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied viewing and thinking, collective activity, aging, illness, American identity, cultural politics, modernity, strangeness, and time. Such is the stuff that relates art to life, and life to art.

Collected mainly from museum and gallery catalogues, artists’ books and monographs, her column in Frieze, and magazines including Aperture and Artforum, these meditations on artists and writers, in the broadest sense of these labels, collide as a portrait of our cultural moment. Tillman’s inventive use of language and lateral thought, her ability to evoke conditions of the larger world in often just two thousand words on a specific artwork or individual, make her one of the most significant critics of our time. As she acknowledges, in a piece on the artist Robert Gober, “In writing on art, words reach for other words, phrases, idioms, and through them more images and ideas leap out.” In her introduction, Elizabeth Schambelan notes that a hallmark of Tillman’s writing alongside artists is an “elegant rendering of complexity,” and in approaching Tillman’s body of work and thought, Schambelan herself imbricates the art, voice, and language of criticism.

Dear ____,

I happened to look for a while out of “my” window on the 17th floor Palliativstation of the Wiener Allgemeinen Krankenhauses last night, where an enormous orange moon was hanging about, consorting with a lick of dark cloud, near to the tiny gaggle of skyscrapers. I didn’t have much to say for myself and so it just sort of looked back at me. 

Every day friends and well-wishers come here and as always I want to run to my room and read a book until they’ve left but for the first time in my life my room is also the room they want to visit, and so I can’t. I wrote down yesterday as best as I could the words of my last long conversation with Marina: there might be more, but the words are running away from her now, which only makes you realise how small and insignificant they are, fleeing from something (from someone) who remains exactly who they were even in their absence: like dust falling from the sun.

* 

A voyage in the insight which comes as a kiss and follows as a curse, made after you ran out of things to say.——first halting efforts at mutual understanding——love letters from twelve years ago. journal entries from fifteen years before lick at the edges like flames. Opaque coloured shadows, projected in three dimensions——of a——future that——has. never ceased to exist and which——Doesn’t——.——.——arrive to speak about their fears.—— Beginning with a naked bathroom selfie. 

An attempt to live nonjudgmentally and without fear, against the desire to be something other than who you were, as a basic form of class hatred, a fear of the common and of everything that happens there, near speechlessness, trailing off, only sometimes coming back to life again, shame dies so that everything else can be saved, and everything else remains present against the background of this absence, beneath the harsh overhead light, as you pull on the pathetic, unassuming string of the pullcord. 

Dedicated to one person, written by one another. “Poems written by / different poets / are my nakedness.”