World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
CLOSED FOR SUMMER.
RE-OPENING 01.02.24
WEB-SHOP OPEN 24/7.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2024, English
Softcover, 256 pages, 22.8 x 15.2 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
What it means to be sexually promiscuous in contemporary American culture, edited by cult-favorite author Michelle Tea.
SLUTS, the first publication from vulgarian queer publisher DOPAMINE BOOKS, is an exploration of what it means to be sexually promiscuous in contemporary American culture. Featuring personal essays, spilled secrets, fiction, memoir, and experimental works, SLUTS asks writers and readers to investigate the many ways the notion of the slut impacts our inner and outer lives, as a threat or an identity, a punishment or an aspiration, a lifestyle, an aesthetic, a philosophy and rallying cry. From hideous and terrifying first encounters to postapocalyptic polyamory, from unionizing sex workers to backstage tableaux of sex and drugs and rock and roll, SLUTS's stories probe the liberating highs and abject lows of physical abandon. Featuring work from performer Miguel Gutierrez, hailed by the New York Times as “an artist of ordered excess”; former Nylon magazine editor in chief Gabrielle Korn; award-winning author Brontez Purnell; Whore of New York author Liara Roux; National Book Critics Circle Award winner Jeremy Atherton Lin; and a host of additional artists and writers, SLUTS reveals the knowledges provoked by a dalliance with desire.
Contributors:
DL Alvarez, Vera Blossom, Chloe Caldwell, Cristy Road Carrera, Sam Cohen, Tom Cole, Lydia Conklin, jimmy cooper, Lyn Corelle, Jenny Fran Davis, Cyrus Dunham, Hedi El Kholti, Robert Gluck, Miguel Gutierrez, Gary Indiana, Taleen Kali, Cheryl Klein, Gabrielle Korn, Jeremy Atherton Lin, Nate Lippens, Meredith Maran, Carta Monir, Amanda Montell, Carely Moore, Bradford Nordeen, Baruch Porras-Hernandez, Kamala Puligandla, Brontez Purnell, Liara Roux, Andrea Sands, Daviel Shy, Jen Silverman, Anna Joy Springer, Laurie Stone, McKenzie Wark, Zoe Whittall
2006, English / French
Softcover (french folds), 208 pages, 24 x 20 cm
Published by
Halle Saint-Pierre / Paris
$200.00 - Out of stock
First edition of this wonderful Unica Zürn monograph, published by Publisher Éditions du Panama to accompany a major survey exhibition in Paris in 2006—2007 at the Halle Saint Pierre, curated by Martine Lusardy and Sepp Hiekisch-Picard. Lavishly illustrated, this important catalogue, now long out-of-print, includes a large number of illuminating texts by scholars in bi-lingual English/French, including: "Unica Zürn: designs so dense" by Roger Cardinal; “Du wirst dein Geheimnis sagen (“You will tell your secret”). The anagram in the work of Unica Zürn" by Victoria Appelbe; "The magical encounter between writing and image" by Barbara Safarova; "The work of Unica Zürn, genesis and reception" by Sepp Hiekisch-Picard; "Read Unica Zürn: the contagion of the void" by Jean-Louis Lanoux; "Unica Zürn (July 6, 1916 – October 19, 1970): biographical references" by Rike Felka and Erich Brinkmann. An important, heavily illustrated reference of Zürn's life and work.
The German artist and writer Unica Zürn (1916-1970) joined the ranks of Surrealism in the 1950s, after moving to Paris and taking up residence with fellow German-born Surrealist Hans Bellmer. Already an accomplished author, Zürn was drawn to the Surrealist movement's espousal of automatic drawing and writing, Zürn pursued Henri Michaux's declaration that "the hand dreams," making a vocation of these techniques with her dense, otherworldly drawings and paintings that are labyrinthine in detail, as one form sprouts out of another. Also with her experimental anagrams, natural extensions of her established interest in hidden meanings and coincidences. Zürn produced most of her oeuvre during this intensive period in the 1950s and 60s, though one marked by her deteriorating mental health. Many of her works were made during periods of hospitalisation. In 1970, Zürn leapt to her death from the balcony of the Paris apartment she had shared with Bellmer. Upon his death in 1975, Bellmer was buried, at his request, next to Zürn in Paris’s Père-Lachaise Cemetery. Their grave is marked with the words Bellmer wrote for Zürn’s funeral wreath nearly five years before: “My love will follow you into Eternity.”
Zürn has left us an account of the sensation of automatic drawing: "After an initial moment when the pen 'swims' hesitantly on the paper, she discovers the place assigned to the first eye. It is only when she is being watched from the depths of the paper that she begins to get her bearings and, effortlessly, one motif is added to another."
Very Good copy with small tears to spine tips and light waving to book block.
2024, English
Softcover, 384 pages, 20.32 x 13.34 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
The trailblazing book that influenced a generation of writers, and proves that mature reflection needn't be lacking in attitude.
In the beginning when everything was very sexual we talked about our fantasies. She thought about having a guy for some of it. She thought about having a gun. I had gone through a lot to get away from guys so I admit that the thought of going back to them, even for a little adventure, was surprising and disconcerting ...
Ann Rower's first book, If You're a Girl, published by Semiotext(e)'s Native Agents series in 1991 in tandem with Cookie Mueller's Walking Through Clear Water in a Pool Painted Black, cemented her reputation as the Eve Babitz of lower Manhattan.
Rower was fifty-three years old at the time. Her stories-urtexts of female autofiction-had long been circulating within the poetry and postpunk music scenes. They were unlike anyone else's- disarming, embarrassing, psuedoconfessional tales of everyday life dizzily told and laced with dry humor. In If You're a Girl, she recounts her adventures as Timothy Leary's babysitter, her artistic romance with actor Ron Vawter, and her attempts to evade a schizophrenic stalker.
Rower went on to publish two novels-Armed Response (1995) and Lee & Elaine (2002). After the 2002 suicide of her partner, the writer Heather Lewis, Rower stopped writing for almost two decades. And then she picked up where If You're a Girl left off. No longer a girl, she produced dozens of stories from her life in New York as an octogenarian.
This new, expanded edition includes most of the original book, together with selections from both her novels and her recent writings. If You're a Girl is a trailblazing book that manifests Rower's influence on a generation of writers, and proves that mature reflection needn't be lacking in attitude.
2024, English
Softcover, 248 pages, 20.32 x 13.97 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
A classic queer text of trauma, written by one of the most talented novelists of her generation.
"The reason it's never just once is the same reason money's only a part of it. Most anyone can take or leave that, though they don't think they can. The cover story of all time, that's what money is. The excuse of excuses no one will question because they so much need to use it themselves."
Published by Doubleday in 1994, Heather Lewis's chilling debut novel took place on the northeastern equestrian show-riding circuit, to which Lewis herself belonged in her teens. Expelled from boarding school, its fifteen-year-old narrator moves numbly through a world of motel rooms, heroin, dyke love, and doped horses. Kirkus Reviews found it "brutal, sensual, honest, seductive ... a powerful debut," while the New York Times found the book "grating and troublesome ... it's difficult to imagine a more passive specimen."
Almost immediately, Lewis began writing Notice, a novel that moves even further into dark territory. The teenaged narrator Nina begins turning tricks in the parking lot of the train station near the Westchester County home of her absent parents. She soon falls into a sadomasochistic relationship with a couple. Arrested, she's saved by a counselor and admitted to a psychiatric facility. But these soft forms of control turn out to be even worse. Writing in the register of an emotional fugue state, Notice's helpless but all-knowing narrator is as smooth and sharp as a knife.
Rejected by every publisher who read it during Lewis's life, Notice was eventually published by Serpent's Tail in 2004, two years after her death. The book, long out of print, emerged as a classic queer text of trauma, written by one of the most talented novelists of her generation.
2024, English
Softcover, 176 pages, 20.07 x 13.46 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
Translated by Holly James
The prequel to Love Me Tender, narrating Debré's transformation from affluent career woman to broke single lesbian and writer.
I see all her beauty, I see the beauty of women. I see my own body, new. I tell myself there are so many things that are possible.
First published in France in 2018, Playboy is the first volume of Constance Debré's renowned autobiographical trilogy that describes her decision, at age forty-three, to abandon her marriage, her legal career, and her bourgeois Parisian life to become a lesbian and a writer.
The novel unfolds in a series of short, sharp vignettes. The narrator's descriptions of her first female lovers—a married woman fifteen years older than her, a model ten years her junior—are punctuated by encounters with her ex-husband, her father, and her son.
As Debré recently told Granta: “It was a bit like Saint Augustine and his conversion. In the same week, I had sex with a girl and I had the feeling that I could write. I had this incredible feeling that I could catch things, that life was there to be caught.”
Looking at the world through fresh eyes, the narrator of Playboy questions everything that once lay beneath the surface of her well-managed life. Laconic, aggressive, and radically truthful, she examines gender and marriage, selfishness and sacrifice, money and family, even the privilege inherent in her downward mobility.
Writing her way toward her own liberation, Debré chronicles the process that made her one of the most brilliant, important French writers today.
2022, English
Softcover, 168 pages, 13.8 x 20.3 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
A novel of lesbian identity and motherhood, and the societal pressures that place them in opposition.
The daughter of an illustrious French family whose members include a former Prime Minister, a model, and a journalist, Constance Debré abandoned her marriage and legal career in 2015 to write full-time and begin a relationship with a woman. Her transformation from affluent career woman to broke single lesbian was chronicled in her 2018 novel Play boy, praised by Virginie Despentes for its writing that is at once "flippant and consumed by anxiety."
In Love Me Tender, Debré goes on to further describe the consequences of that life-changing decision. Her husband, Laurent, seeks to permanently separate her from their eight-year old child. Vilified in divorce court by her ex, she loses custody of her son and is allowed to see him only once every two weeks for a supervised hour. Deprived of her child, Debré gives up her two-bedroom apartment and bounces between borrowed apartments, hotel rooms, and a studio the size of a cell. She involves herself in brief affairs with numerous women who vary in age, body type, language, and lifestyle. But the closer she gets to them, the more distant she feels. Apart from cigarettes and sex, her life is completely ascetic: a regime of intense reading and writing, interrupted only by sleep and athletic swimming. She shuns any place where she might observe children, avoiding playgrounds and parks "as if they were cluster bombs ready to explode, riddling her body with pieces of shrapnel."
Writing graphically about sex, rupture, longing, and despair in the first person, Debré's work is often compared with the punk-era writings of Guillaume Dustan and Herve Guibert, whose work she has championed. As she says of Guibert: "I love him because he says I and he's a pornographer. That seems to be essential when you write. Otherwise you don't say anything." But in Love Me Tender, Debré speaks courageously of love in its many forms, reframing what it means to be a mother beyond conventional expectations.
Translated by Holly James.
2024, English
Softcover, 184 pages 22 x 14 cm
Published by
Monkey / US
$44.00 - Out of stock
Winner of the Yomiuri Prize and recipient of the 2022-23 William F. Sibley Memorial Subvention Award for Japanese Translation.
Introducing Tatsuhiko Shibusawa—Japan's Italo Calvino—in this fantastical tale of a Japanese prince who encounters both beauty and danger on a pilgrimage to India.
Tatsuhiko Shibusawa (1928-1987) published only one novel, Takaoka's Travels, but it is considered a touchstone of Japanese counterculture. A specialist in medieval demonology, Shibusawa was a prolific, and controversial, Japanese translator of French literature, known for his translations of the Marquis de Sade, Georges Bataille, Jean Cocteau, and the French surrealists. In 1960 he and his publisher, Kyōji Ishii, were trialled for public obscenity over the publishing of Shibusawa's translation of de Sade's Juliette into the Japanese language. What was to be known as the "Sade Trial" took 9 years and although many of Japan's leading authors testified for the defence, in 1969 the Japanese Supreme Court ruled them guilty and charged. This did not deter Shibusawa. In addition to Takaoka's Travels, he wrote several volumes of short fantasy fiction and numerous essays on black magic, demonology and eroticism, edited the ground-breaking Le Sang Et La Rose arts and literary journal (1968—1969), and in 1981 he was awarded the 9th Izumi Kyoka Literature Prize.
A fantasy set in the ninth century, Takaoka's Travels recounts the adventures of a Japanese prince-turned-monk on a pilgrimage to India. As Prince Takaoka and his companions pass through faraway lands, the rules of the ordinary world are upended, and they find curiosities and miracles wherever they go. The travellers encounter strange creatures—a white ape who guards a harem of bird-women, beasts who feed on dreams, a dog-headed man who can see hundreds of years into the future. On the high seas, their ship is boarded by ghostly pirates and driven back by supernatural winds, and still they push on. At every turn, Prince Takaoka is drawn to the beauty around him, whether it takes the form of a perfectly shaped pearl or a giant blood-red flower, but such beauty proves to be extremely dangerous. Seductive and mysterious, offering high adventure yet deeply human, this is a novel that transcends all expectations.
With an afterword by translator David Boyd.
"In the ninth century, a Japanese prince-turned-monk sets off with companions on a journey to Hindustan (India), the center of Buddhism. . . . An arresting novel that readers will cherish."—David Keymer, Library Journal Starred Review
"A lush and fabulous journey into the unknown with impossible creatures, fantastic dream worlds, and things that seem to echo events long past."—Regina Schroder, Booklist
"Takaoka's Travels will somehow remind you, simultaneously and impossibly, of a hundred books you've loved and nothing you've ever read. The plot moves in eddies, playfully forgetting and then remembering itself. . . . It's rare to read a book and feel not only that you don't know where it's taking you but, over and over again, that you don't know where it took you, and I can't stop thinking about the experience."—Kevin Brockmeier, author of The Ghost Variations
2024, English
Hardcover (w. dust jacket), 496 pages, 19.05 x 16.51 cm
Published by
Yale University Press / New Haven
$62.00 - In stock -
The magnum opus of 2004 Nobel laureate Elfriede Jelinek—a spectral journey through the catastrophic history embedded in the landscape of Austria
"The surface of Jelinek's prose cracks and bursts . . . fissured by phantasmagorical description, gallows humor, multilingual puns, and scouring sarcasm. . . . Jelinek's novel is finally . . . a furious accumulation of lost moments and possible outcomes, an enormous, spectral kaleidoscope erected before the unfathomable."—Dustin Illingworth, Washington Post
The Alpenrose is a mountain resort nestled in Austria's scenic landscape among historic churches and castles. It is a vacation idyll that attracts tourists from all over Europe. It is also a mass burial site.
Amid the snow-topped peaks and panoramic vistas, ghosts haunt the forest: Edgar Gstranz, a young skier who died in a car crash; Gudrun Bichler, a philosophy student who committed suicide in her bathtub; and Karin Frenzel, a widow who (perhaps) died in a bus accident. As the three slip in and out of the hotel, engaging unsuspecting tourists and seeking a way to return to life, the soil begins to crack under their feet as the dead of the Holocaust awaken: zombies determined to exact their revenge.
Scrupulously rendered for the first time in English by Gitta Honegger, The Children of the Dead takes readers on a mind-bending ride through time, space, and memory. Concocted from experimental theater, splatter film, Gothic literature, philosophy, religion, and more, Jelinek's phantasmagorical masterwork is a fierce confrontation with our fraught legacies in the name of the innocent dead.
1983, English
Softcover, 288 pages, 20.96 x 14.61 cm
Published by
Grove Press / New York
$40.00 - In stock -
The most popular work from provocative Austrian Nobel laureate Elfriede Jelinek, The Piano Teacher is a searing portrait of a woman bound between a repressive society and her darkest desires. Erika Kohut is a piano teacher at the prestigious and formal Vienna Conservatory, who still lives with her domineering and possessive mother. Her life appears boring, but Erika, a quiet thirty-eight-year-old, secretly visits Turkish peep shows at night and watched sadomasochistic films. Meanwhile, a handsome, self-absorbed, seventeen-year-old student has become enamoured with Erika and sets out to seduce her. She resists him at first, but then the dark passions roiling under the piano teacher's subdued exterior explode in a release of perversity, violence, and degradation.
2024, English
Softcover, 176 pages, 21.4 x 14.6 xcm
Published by
The New York Review of Books / New York
$38.00 - In stock -
An illuminating selection of writings on a wide variety of topics—everything from technique, music theory, and daily routine to spirituality and systemic racism—from the personal journals of Sonny Rollins, master of the tenor saxophone and "jazz's greatest living improviser" (The New York Times).
Sonny Rollins is one of the towering masters of American music, a virtuoso of the saxophone, and an unequaled improviser whose live performances are legendary and who has reshaped modern jazz time and time again over the course of a career lasting more than sixty years. A turning point in that legendary career came in 1959, when Rollins stepped back from performing and recording to begin a new regime of musical exploration, which saw him practicing for hours, sometimes all through the night, on the Williamsburg Bridge. This was also the moment when he started the notebook that would become a trusted companion in years to come-not a diary so much as a place to ponder art and life and his own search for meaning in words and in images.
At once quotidian and aphoristic, the notebooks mingle lists of chores and rehearsal routines with ruminations on nightclub culture, racism, and the conundrums of the inner life. And always there is the music-questions of embouchure, fingering, and technique; of harmony and dissonance; of his own and others' art and the art of jazz. "Any definition," Rollins insists, "which seeks to separate Johann Sebastian Bach from Miles Davis is defeating its own purpose of clarification. . . .The Musings of Miles is then the Bouncing of Bach both played against each other."
Edited and introduced by the critic and jazz scholar Sam V.H. Reese, The Notebooks of Sonny Rollins provides an unequaled glimpse into the mind and workshop of a musical titan, as well as a wealth of insight and inspiration to readers.
2024, English
Softcover, 320 pages, 20.2 x 12.7 cm
Published by
The New York Review of Books / New York
$39.00 - In stock -
Red Pyramid is a sort of "greatest hits" collection of short stories from across Vladimir Sorokin's career, beginning with juvenilia like "The Pink Tuber," composed with no expectation of either publication or readership; moving on to scatological conceptual texts like "An Obelisk"; then plunging into the more even-tempered, but still quite uncanny, delights of his post-Soviet work.
Stories like "A Month in Dachau" earn Sorokin his moniker as the "Russian De Sade," while others, like "Timka," are shockingly tender-despite their graphic depictions of mass shootings and anal sex.
This collection also contains the infamous "Nastya," a story about a family cannibalizing its daughter on the eve of the twentieth century, for which Sorokin was nearly put on trial; "Horse Soup," which was the first translation from the Russian to win an O'Henry Prize; as well as stories published in Anglophone magazines such as The New Yorker, n+1, Harper's, and The Baffler to great acclaim.
Translated by Max Lawton with equal attention to chewiness and pop flair, Red Pyramid is introduced brilliantly, brutally, and as always, unexpectedly by Will Self. Red Pyramid is perhaps the best place to begin a dive into Sorokin's arch detonation of Russian violence.
Extended comic turns like The Queue and relentless, mind-bending, genre-shredding extravaganzas like Ice Trilogy have established Vladimir Sorokin as a master of the contemporary novel. It is to Sorokin's short fiction, however, that readers must turn to encounter the wildest and most unsettling of his inventions and provocations. Sorokin is a virtuoso of parody and pastiche, as well as a poet of the black sites where the human soul stands exposed to its own incontinent desires, and Red Pyramid spans the whole of his career, from his emergence in the Soviet Union as a member of Moscow's artistic underground to his late preeminence as an observer and interpreter of the Putin era, with its squalid parade of gruesome folly and unhinged violence. Included here are queasy tour-de-forces, like the early "Obelisk," a story as scatological as it is conceptual; the notorious "A Month in Dachau," which earned Sorokin his sobriquet as the Russian Sade; and profoundly unsettling texts like "Tiny Tim," where tenderness is inseparable from horror.
Sorokin's stories have appeared in The New Yorker, n+1, Harper's Magazine, and The Baffler. This is the first time they have been collected in English.
2024, English
Softcover, 368 pages, 20.1 x 12.7 cm
Published by
The New York Review of Books / New York
$39.00 - In stock -
Vladimir Sorokin's Blue Lard is the most iconic and iconoclastic Russian novel of the last forty years. Thanks in part to its depiction of Stalin and Khrushchev having sex, which inspired a Putinist youth group to throw shredded copies of the author's books into an enormous toilet erected in front of Moscow's Bolshoi Theater, Blue Lard is the novel that tore Sorokin out of the Moscow Conceptualist underground and into the headlines.
The book begins in a futuristic laboratory where genetic scientists speak in a Joycean dialect of Russian mixed with Chinese-peppered with ample neologisms-and work to clone famous Russian writers, who are then made to produce texts in the style of their forebears. The goal of this "script-process" is not the texts themselves, but the blue lard that collects in the small of their backs as they write.
This substance is to be used to power reactors on the moon-that is, until a sect of devout nationalists breaks in to steal the blue lard, planning to send it back in time to an alternate version of the Soviet Union, one that exists on the margins of a Europe conquered by a long-haired Hitler with the ability to shoot electricity from his hands. What will come of this blue lard? Who will finally make use of its mysterious powers?
Blue Lard is a stylistically acrobatic book, translated by Max Lawton into an English idiom just as bizarre as the Russian original. Evoking both Pulp Fiction and the masterpieces of the Marquis de Sade, Sorokin's novel is a brutal, heady trip that annihilates all of its twentieth- (and twenty-first-) century competition in the Russian canon-and that annihilates Russia itself in a resounding act of heavy-metal dissidence.
Blue Lard is an act of desecration. Blue Lard is what's left after the towering masterpieces of Russian literature have been blown to smithereens, the most graphic, shocking, controversial, and celebrated book to be published in Russia since the end of Communism. Denounced as an abomination on publication in 1999-a crowd of angry Putin supporters gathered in front of Moscow's Bolshoi Theater to toss shredded copies of Sorokin's books into an enormous papier-m che toilet-this ferocious takedown of Russian greatness has since found its way into the canon of Russian literature itself.
The book begins in a futuristic laboratory where genetic scientists speak in a dialect of Russian mixed with Chinese. There they work to clone famous Russian writers, who are then made to produce texts in the style of their forebears. The goal of this "script-process" is not the texts themselves but the blue lard that collects in the small of their backs as they write. This substance is to be used to power reactors on the moon-that is, until a sect of devout nationalists breaks in to steal the blue lard, planning to send it back in time to an alternate version of the Soviet Union, one that exists on the margins of a Europe conquered by a long-haired Hitler with the ability to shoot electricity from his hands. What will come of this blue lard? Who will finally make use of its mysterious powers?
Max Lawton's translation of Blue Lard, the first into English, captures this key work in all its grotesque, havoc-making, horrifying, visceral intensity.
2023, English
Softcover, 120 pages, 10.5 x 8 cm
Published by
Hanuman Editions / US
$25.00 - In stock -
Garden of Ashes, Cookie Mueller's second entry into the Hanuman Books canon (following 1988's Fan Mail, Frank Letters, and Crank Calls) brings together ten stories, autobiographical accounts of her ascent to cult-cinema superstardom, with tales dedicated to several of her fellow Dreamlanders, including "Edith Massey: A Star" and "Divine".
Cookie Mueller (1949–1989) was an American writer, actress, and advice columnist, best remembered as a regular cast member of some of the director John Waters's groundbreaking films, including Multiple Maniacs, Pink Flamingos, Female Trouble, and Desperate Living. She died from AIDS-related complications in 1989.
From the first series redux of Hanuman Books, the legendary and cult series of chapbooks that were printed in southern India and published out of the storied Chelsea Hotel in New York City between 1986 and 1993. Founded by American curator Raymond Foye and artist Francesco Celemente, Hanuman Books was dedicated mainly to the extreme deconstructive edge of the countercultural poetic, musical, and artistic currents of the 1960s and 1970s, spanning the era of the Cold War, the AIDS crisis, the Harlem Ballroom scene, the Beats, Warhol's Factory etc. Hanuman Books sought to marry the folk-minimal-artisanal with the cutting edge, playfully marketing their books as ‘secret’ documents of an avant-garde subculture, meant to be passed on covertly at street corners just as millenarian chapbooks of medieval times were supposed to have been. Printed in India, the small format is meant to mimic the chapbook form of the Hanuman Chalisa (a folk compendium of chants to the Hindu god Hanuman, sold very cheaply in the bazaars of India) that made them perfect for slipping illicitly into any pocket. Redux editions edited by Shruti Belliappa and Joshua Rothes.
2024, English
Softcover, 242 pages, 18 x 13 cm
Published by
Sublunary Editions / Seattle
$42.00 - In stock -
Out there, it’s nothing much.
There’s a little snow,
getting rained on now.
There’s a creeping green
that creeps into the darkness.
That darkness is the night,
soon to be upon all the snow,
upon all the green
in the whole world.
My Heart Has So Many Flaws collects the early verse of Robert Walser, from his poetic beginnings to the first World War. These poems are Walser at his most unguarded, in which we might "find the intense and intensely odd person behind Walser’s work", a writer in the throes of self-creation, already laying claim to what Enrique Vila-Matas called “a commentary on the vanity of all initiative, the vanity of life itself".
This is the most complete volume of Walser's early verse to date, including all of his known poems written before World War I (with a single post-war poem included as a coda).
Robert Walser (1878 –1956) was a Swiss poet, novelist, and composer of a voluminous body of short prose pieces, ranging from complete short stories to feuilleton sketches to the well-known and uncategorizable microscripts. His life was marked by periods of resignation—he repeatedly secured gainful employment, then quit to concentrate on writing. He retreated from noteriety in the literary and social circles of Berlin by enrolling in a butler’s school (and then getting hired as a butler). Eventually, he renounced most worldly ambition, committing himself to the Waldau sanatorium in 1929 after a breakdown. There, he continued writing—enigmatically, cryptographically—the microscripts. Removed to an institution in his home canton, he ceased writing, famously telling Carl Seelig, "I am not here to write, but to be mad." He remained in the Herisau sanatorium from 1933 until his death.
Kristofor Minta is a poet and translator. He is a graduate of Syracuse University's Creative Writing program and has twice been a finalist in the National Poetry Series. His translations (with Herbert Pföstl) of Hans Jürgen von der Wense have been published as A Shelter for Bells (Epidote Press, 2020), and his translation of Rilke's The Voices and Other Poems (Sublunary Editions, 2021) was longlisted for the PEN America Poetry in Translation Award. His debut poetry collection, A Perfectly Ruined Solitude, was published in early 2023 by Sublunary Editions.
2024, Englidh
Softcover, 532 pages, 20.5 x 13 cm
Published by
Contra Mundum Press / New York
$62.00 - In stock -
On 10 January 1936, the poet, actor, and dramatic theorist, Antonin Artaud departed Europe on a journey to Mexico that would take him from the streets, cafés, and lecture halls of Mexico City to the remote mountains of the Sierra Tarahumara. The journey would last only ten months, culminating in some six to eight weeks spent among the Tarahumara (Rarámuri), but it was a profound turning point in his life.
Artaud didn’t just leave Europe. He fled it. “I came to Mexico to escape European civilization … I hoped to find a vital form of culture.” The vital form of culture that he sought was one wherein individual and communal behaviors were rooted in the soil of a place, wherein the rituals of religion reinforced a connection in human lives between the earth and the sun.
But Artaud’s search for a vital form of culture would not be a simple one. His appeal to indigenous culture would first require an intense and intricate effort at aesthetic, religious, political, and philosophical decolonization. And this intellectual work would not be without a psychological cost.
Journey to Mexico collects very nearly all of Artaud’s writings related to his voyage to the land of the Tarahumara: the writings he prepared prior to this journey; the pieces he published in Mexico and the lectures he delivered there; the essays, letters, and poems that he wrote in the years after his journey, reflecting on and reframing his experiences. A selection of letters written before, during, and after the trip conveys the very personal — the physical, emotional, and financial — challenges of the journey.
Artaud’s Journey to Mexico takes us far from home to the limits of art and anthropology, myth and religion, to confront the legacies of colonial conquest and the possibility of decolonization in a desperate search for a “vital form of culture.”
1990 re-print, English
Softcover, 120 pages, 20.3 x 28 cm
Published by
RE/SEARCH / San Francisco
$50.00 - In stock -
Revised, Expanded, Illustrated, and Annotated Edition of the author’s classic, published by RE/Search in 1990. Original text supplemented with Annotations, Commentary, and Four Additional Stories by J.G. Ballard.
Contains beautifully shocking Illustrations by Phoebe Gloeckner and Ana Barrado; design was conceived by V. Vale and executed at his typesetting shop. J.G. Ballard wrote the explanatory annotations for this RE/Search edition at Vale’s request.
Foreword by William S Burroughs, Introduction by V. Vale. First published in 1970 and widely regarded as a prophetic masterpiece, this is a groundbreaking experimental novel by the acclaimed author of “Crash” and “Super-Cannes”.
The 1970 First American Edition was banned by court order, forcing Doubleday to shred the entire print run. An experimental (rather than a conventional) novel, it has lost none of its awesome power to shock. Atrocity Exhibition is widely regarded as Ballard’s finest, most complex work…
The irrational, all-pervading violence of the modern world is the subject of this extraordinary tour de force. The central character’s dreams are haunted by images of John F. Kennedy and Marilyn Monroe, dead astronauts and car-crash victims as he traverses the screaming wastes of nervous breakdown. Seeking his sanity, he casts himself in a number of roles: H-bomber pilot, presidential assassin, crash victim, psychopath. Finally, through the black, perverse magic of violence he transcends his psychic turmoils to find the key to a bizarre new sexuality.
A “must-have” edition for J. G. Ballard collectors.
1992, English
Softcover (+ fold-out catalogue insert), 57 pages, 21 x 15 cm
Signed by Henri Chopin,
1st Edition, Out of print title / used / very good
Published by
Griffith University / Brisbane
$160.00 - In stock -
Rare catalogue published on the occasion of the first major Australian exhibition of Henri Chopin's work, curated by Nicholas Zurbrugg and Marlene Hall, Queensland College of The Art Gallery, Griffith University, August 24 — September 11, 1992. This special copy signed by Chopin, dedicated "For Warren", Warren Burt, Baltimore-born (1949) Australia-based composer of acoustic and electroacoustic music, sound art installations, and text-based music. Surveying the posters, prints, typewriter poems, publications and soundworks of Henri Chopin (and Editions OU), this wonderful catalogue reproduces many artworks in colour and b/w, along with many rare photographs, contributions/testimonies from over 50 leading avant-garde poets, artists, curators, critics and academics from around the world, an interview by Nicholas Zurbrugg with Henri Chopin in Paris, 1992, biography, plus an inserted fold-out catalogue/work list of the over 100 works exhibited. One of 1000 copies printed.
Contributors include: Pierre-André Arcand, Charles Amirkhanian, Vincent Barras, David Briers, William Burroughs, John Cage, Arthur and Corinne Cantrill, Bob Cobbing, Francesco Conz, Cozette de Charmoy, Wystan and Susan Curnow, Hugh Davies, Jean Dupuy, Paul Dutton, Michael Eather, Brad Faine, Giovanni Fontana, Ken Friedman, John Furnival, Kenneth Gaburo, Pierre Garnier, Jochen Gerz, Michael Gibbs, John Giorno, Rodney Grey, Bernard Heidsieck, Dick Higgins, Leigh Hobba, Armin Hundertmark, Alice Hutchins, Françoise Janicot, Jaroslav Kovaricek, François Lagarde, Rosemary Laing, Robert Lax, Jackson MacLow, Steve McCaffery, Andrew McLennan, Chris Mann, Enzo Minarelli, Edwin Morgan, David Moss, Lutfi Özkök, Tom Phillips, Jasia Reichardt, Gerhard Rühm, Marvin Sackner, Klaus Schöning, Guy Schraenen, Amanda Stewart, Larry Wallrich, Ania Walwicz, Nick Waterlow, Larry Wendt, Paul Zumthor, Ellen Zweig, edited by Nicholas Zurbrugg and Marlene Hall.
Henri Chopin (1922—2008) Sound artist, painter, typographer and concrete poet; born in Paris, he was deported to Germany in 1943, where he was in forced labour camps; subsequently served in the French army in Vietnam 1948-9; from the 1950s became a key figure in Paris mixing with André Breton, the critic Michel Seuphor and the French Lettriste movement; interested in the interdisciplinary roles of sound and art, he founded the review 'Cinquième saison' in 1958, which later became 'Ou' from 1964 to 1974, which included recordings of sound poetry; from the 1960s, as well as working in radio and television, he produced typewriter poems which played on sound and concrete poetry; after the failure of the May 1968 revolts in Paris, he lived in self-imposed exile in England in Ingatestone, Essex, where he continued with his activities as a sound artist and concrete poet; he returned to Paris in 1985 and died in 2008
2014, English / French
Softcover (staple-bound, in glassine envelope), 26 pages, 21 x 29.5 cm
Edition of 1000
Published by
Supportico Lopez / Berlin
$30.00 - In stock -
English and French facsimile edition of this important Henri Chopin text first published in 1984, staple-bound and issued in a glassine envelope in an edition of 1000 by Supportico Lopez, Berlin.
Henri Chopin (1922—2008) was an avant-garde artist, poet and musician, other than a painter, graphic artist and designer, teacher, typographer, independent publisher, film-maker, broadcaster and arts promoter. He is widely considered to be a pioneer in the recognition and distribution of sound-poetry.
Henri Chopin was a little-known but key figure of the French avant-garde during the second half of the 20th century. Known primarily as a concrete and sound poet, he created a large body of pioneering recordings using early tape recorders, studio technologies and the sounds of the manipulated human voice. His emphasis on sound is a reminder that language stems as much from oral traditions as from classic literature, of the relationship of balance between order and chaos.
2009, French / English
Hardcover (w. audio CD), 90 pages, 21 x 15 cm
Ed. of 350, hand-numbered,
Published by
Alga Marghen / Milan
$85.00 - In stock -
Limited edition book and CD presentation of Bernard Heidsieck's Poème-Partition "X", bound in hardcover in a hand-numbered edition of 350 copies. Recorded 1960, this publication of the work plus CD of the original 1960 recording and later 1962 performance (accompanied by saxophone improvisation by American painter Larry Rivers) were issued in this deluxe volume in 2009 by Alga Marghen, Milan. Heidsieck (1928—2014) was one of the greatest French poets of the 20th century and an originator of the sound poetry movement.
Bernard Heidseick (1928-2014) was a French sound poet, associated with various movements throughout a long career: including Beat, Fluxus, and minimalism. Heidseick decided in the mid-1950s to break off from written poetry, and to bring it outside of books. He opposed passive poetry to active poetry, to an “on its feet” poetry, in his own words. Starting in 1955 he was one of the founders of Sound Poetry, and in 1962 of Action Poetry. As early as 1959 he used a tape recorder as an additional means for writing and retransmitting, opening his research to new experimental fields. While remaining concerned with semantics, Bernard Heidseick became increasingly independent from the constraints of language. He explored all its formal aspects, either by spatializing the text in his written scores, or by the presence of his body in space. He gave sound a formal dimension, notably through an exceptional diction based as much on breathing as on articulating perfectly or on constantly renewing the inflections of his voice. As the years went by he reinvented his writing in order to render our daily life more accurately. Our social, political or economical universe, through its main events, as well as through its extreme ordinariness. In 1955 he developed his first Score-Poems. He then worked continuously on series, with the 13 Biopsies between 1966 and 1969. From 1969 to 1980, he created the 29 Passe-Partout (Catch-alls). From 1978 to 1986, he wrote Derviche/Le Robert (Dervish/Le Robert) composed of 26 sound poems. Then, beginning in 1988, Respirations et brèves rencontres ( Respiration and Brief Encounters) (60 poems created from the archives of recordings of artists' breathing). He organised the first international festival of sound poetry in 1976 and the event Rencontres Internationales 1980 de poésie sonore which took place in Rennes, in Le Havre and at the Pompidou Centre in Paris.
As New.
2001, French
Softcover (w. audio CD + print insert), 64 pages, 21 x 15 cm
Ed. of 500,
1st Edition, Out of print title / as new
Published by
Le Corridor Bleu / Nîmes
$60.00 - In stock -
Limited edition book and CD presentation of Bernard Heidsieck's Poème-Partition "F" with print insert. Written 1957 and recorded 1960, this publication was issued in an edition of 500 in 2001 by Le Corridor Bleu, Nîmes. Includes an additional introduction by Heidsieck (1928—2014) himself, one of the greatest French poets of the 20th century, and an originator of the sound poetry movement.
Bernard Heidseick (1928-2014) was a French sound poet, associated with various movements throughout a long career: including Beat, Fluxus, and minimalism. Heidseick decided in the mid-1950s to break off from written poetry, and to bring it outside of books. He opposed passive poetry to active poetry, to an “on its feet” poetry, in his own words. Starting in 1955 he was one of the founders of Sound Poetry, and in 1962 of Action Poetry. As early as 1959 he used a tape recorder as an additional means for writing and retransmitting, opening his research to new experimental fields. While remaining concerned with semantics, Bernard Heidseick became increasingly independent from the constraints of language. He explored all its formal aspects, either by spatializing the text in his written scores, or by the presence of his body in space. He gave sound a formal dimension, notably through an exceptional diction based as much on breathing as on articulating perfectly or on constantly renewing the inflections of his voice. As the years went by he reinvented his writing in order to render our daily life more accurately. Our social, political or economical universe, through its main events, as well as through its extreme ordinariness. In 1955 he developed his first Score-Poems. He then worked continuously on series, with the 13 Biopsies between 1966 and 1969. From 1969 to 1980, he created the 29 Passe-Partout (Catch-alls). From 1978 to 1986, he wrote Derviche/Le Robert (Dervish/Le Robert) composed of 26 sound poems. Then, beginning in 1988, Respirations et brèves rencontres ( Respiration and Brief Encounters) (60 poems created from the archives of recordings of artists' breathing). He organised the first international festival of sound poetry in 1976 and the event Rencontres Internationales 1980 de poésie sonore which took place in Rennes, in Le Havre and at the Pompidou Centre in Paris.
As New with tiny little coffee drip mark to cover.
2005, English
Softcover, 240 pages, 17.78 x 13.21 cm
Published by
RE/SEARCH / San Francisco
$44.00 - In stock -
A collection of never-before-published interviews, by the author of "Cocaine Nights" (Flamingo), "Crash" (Vintage), and "Millennium People" (Flamingo). It presents thoughts on the Internet and virtual reality, the impact of 9-11, extremism, the media industries, the meaning of Las Vegas and gated communities, and the infantilization of America and the world.
This new volume of interviews from RE/Search shows Ballard whole — a moralist, standing at the intersection between Jonathan Swift and Salvador Dali. Over four decades Ballard has exerted a deep influence over diverse writers like Angela Carter, Jean Baudrillard, Michel Houellebecq and Don DeLillo. His Booker Prize-nominated "Empire of the Sun" was filmed by Steven Spielberg. Never has Ballard sounded so concerned, fatherly, or political. (In an earlier, 1984 RE/Search interview, Ballard impishly exclaims, "I want more nuclear weapons!") The interviews make it abundantly clear that while Ballard has always proclaimed the death of reason and the visceral origins of technology, he now sees these developments as almost wholly negative. "What bothers me," the author says of that notorious techno-pornographic novel "Crash," "is that something is happening that you could almost call the 'Normalizing of the Psychopathic' — the greater and greater areas of what used to be regarded as the psychopathic by, say, my parents." It doesn't seem to occur to Ballard that anyone might have read his violently sexual stories literally.
1959 / 1972 / 2021, English
Ed. of 1000,
Published by
Corbett vs. Dempsey / Chicago
$90.00 - Out of stock
Beautiful new edition set of four poetry books by Sun Ra, issued Corbett vs. Dempsey in Chicago. Two of these were pamphlets that accompanied early Sun Ra albums issued in the late 1950s; the other two were published more than a decade later by Infinity Inc./Saturn Research. CvsD's reprints are fastidiously designed facsimiles of the original publications, marking the first time they have been available in their Ra-ordained form since they were published.
An architect of Afrofuturism and one of the great musical thinkers of the 20th century, Ra's work extended far beyond jazz and even music to the realms of pageantry, performance, theater, philosophy, visual art, and literature. In the mid 1950s, he handed out leaflets and gave street corner lectures – revisionist interpretations of the Bible and bold meditations on the status of African Americans in American society. A few years later, Ra began disseminating his poems in – and sometimes on – his albums. His debut, Jazz By Sun Ra, was issued in 1957 by the Boston-based Transition label, a short-lived company that sold records by subscription; this record contained a beautiful booklet, now as prized as the LP itself, with rare photographs and a selection of poems and proclamations, as well as the personnel and recording credits. Ra's Jazz In Silhouette was released two years hence on Saturn Records, the label he started with Alton Abraham, and it came with a mimeographed liner booklet – now exceedingly rare – that was folded, unstapled, as an ultra-economical accompaniment to the vinyl. The CvsD version folds this slim pamphlet of poetry into a slipcover with a classic photo portrait of Ra by Thomas "Bugs" Hunter on the back. Perhaps Ra's best known book of poetry, reprinted in many alternative versions with different contents over the years, is The Immeasurable Equation; this incarnation restores the original Infinity Inc./Saturn Research version, published in Chicago in 1972 and distributed widely by the Arkestra, often from the bandstand. It features more than 60 of Ra's poems. Finally, perhaps the rarest of Ra's poetry books is Extensions Out: Immeasurable Equation Vol. II, which was also published by Infinity Inc./Saturn Research. This 8 1/2 x 11 inch book is a massive compendium of more than 130 poems, very much in step with the mimeo poetry publications of its era – simple staple binding, one-sided pages – featuring three photographs of artwork by Ayé Aton, a close ally of Ra's in this, the period of the Arkestra classic Space Is The Place, on which Aton plays percussion. Great care was taken to reproduce the special textured cover of this highly sought after book.
These four books are exclusively sold as a set. The first edition is limited to 1000 copies. Corbett vs. Dempsey is proud to represent the non-musical side of the Sun Ra Estate. We gratefully acknowledge Irwin Chusid and Sun Ra LLC for the permission to release this historically rich chronicle of Ra's poetry, presented as he originally conceived it.
2024, English
Softcover, 160 pages, 17.8 x 11.4 cm
Published by
Wakefield Press / Cambridge
$32.00 - In stock -
An indefinable polymath of fin de siècle Paris, Charles Cros made work that was simultaneously grounded in literature and science. This collection brings together for the first time in English all of his literary prose. The collection includes proto-science-fiction stories; prose poems; an essay on methods of communication with other planets; and the patent application written with his brother for a (never-built) notating keyboard.
The literary imagination Cros was able to bring into the field of science was matched by the humorous scientific sobriety he introduced into his literature, which he did nowhere so effectively as in the title piece, “The Science of Love”: depicting a young scientist’s painstakingly executed seduction of a woman for the sake of scientific analysis. Also included are stories such as “The Newspaper of the Future” (which presents a 19th-century imagining of artificial intelligence) and “The Stone Who Died of Love.”
Charles Cros (1842–88) was a French writer and inventor. He is credited with submitting the earliest method for recording sound, but his idea for the “Paleophone” was obscured by Thomas Edison’s patent for the phonograph less than a year later.
1984, English
Softcover, 128 pages, 25.5 x 17.5 cm
1st Edition, Out of print title / used / good
Published by
Semiotext(e) / Los Angeles
$70.00 - Out of stock
Rare copy of one of the remarkable special book issues of the original Semiotext(e) journal — Semiotext(e) Oasis, published in 1984, edited by Timothy Simone, Peter Caravetta, Frank Mecklenberg, Brigitte Ouvry-Vial and Gregory Whitehead. This issue from 1984, titled Oasis: Fourth World, was secretly produced and handed to Lotringer with an ultimatum: “Take it or leave it.”. Features texts by Joseph Saruva, Leslie Dick, Mustafa Isrui, Franco Beraldi, Theo Kneubuehler, Dambudzo Marechera, Chris Marker, Nuruddin Farrah, Gregory Whitehead, Unica Zürn, Françoise Gründ, Ariel Dorfman, Maurizio Torrealta, Paul Foss, Michel Serres, Wole Soyinka, Serge Galam. Marco J. Jacquemet, Ninotchka Rosca, Henri Pierre Jeudy. Timothy Simone, Lynne Tillman, Cornel West, Arnold Barkus, Peter Wortsman, Damona Wolff, Marylene Delbourg-Delphis, Frank Ungemut, Alphonso Lingis, Bahadur Tejani, Bernhard Mueller and Karel Dudesek, Sun Ra.
"Human bodies consist primarily of water. Body chemistries perform best at 98.6 degrees Fahrenheit. Human skin provides both vessel and thermometer for body water. If exposed to extended periods of heat or exertion, bodies dehydrate; skins dry out. Hard science tells us this is true for all skins, from the First through the Fourth world."
Founded in 1974, Semiotext(e) began as a journal that emerged from a semiotics reading group led by Sylvère Lotringer at the Columbia University philosophy department. Initially, the magazine was devoted to readings of thinkers like Nietzsche and Saussure. In 1978, Lotringer and his collaborators published a special issue, Schizo-Culture, in the wake of a conference of the same name he had organized two years before at Columbia University. The magazine brought together artists and thinkers such as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, Martine Barrat and Lee Breuer. Schizo-Culture brought out connections between high theory and underground culture that had not yet been made, and forged the "high/low" aesthetic that remains central to the Semiotext(e) project.
Good copy with some wear and creasing to the covers, tanning and tape repair to top of spine.