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The American artist's much-imitated memoir, described by Paul Auster as "one of the few totally original books I have ever read."

Edited by Ron Padgett.

Joe Brainard's I Remember is a literary and artistic cult classic, praised and admired by writers from Paul Auster to John Ashery and Edmund White. As autobiography, Brainard's method was brilliantly simple: to set down specific memories as they rose to the surface of his consciousness, each prefaced by the refrain "I remember"

"I remember when I thought that if you did anything bad, policemen would put you in jail."

Brainard's enduring gem of a book has been issued in various forms over the past thirty years. In 1970, Angel Hair books published the first edition of I Remember, which quickly sold out; he wrote two subsequent volumes for Angel Hair, More I Remember (1972) and More I Remember More (1973), both of which proved as popular as the original. In 1973, the Museum of Modern Art in New York published Brainard's I Remember Christmas, a new text for which he also contributed a cover design and four drawings. Excerpts from the Angel Hair editions appeared in Interview, Gay Sunshine, The World and the New York Herald. Then in 1975, Full Court Press issued a revised version collecting all three of the Angel Hair volumes and added new material, using the original title I Remember.

This complete edition is prefaced by poet and translator Ron Padgett.

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The Hungarian master’s first work to appear in English, and still one of the best. Translated from Hungarian by George Szirtes.

"This is a book about a world into which the Leviathan has returned. The universality of its vision rivals that of Gogol's Dead Souls and far surpasses all the lesser concerns of contemporary writing."—W. G. Sebald

"Satantango and The Melancholy of Resistance are irresistible, unforgettable and required reading."—Eileen Battersby, The Irish Times

The Melancholy of Resistance, László Krasznahorkai's magisterial, surreal novel, depicts a chain of mysterious events in a small Hungarian town. A circus, promising to display the stuffed body of the largest whale in the world, arrives in the dead of winter, prompting bizarre rumors. Word spreads that the circus folk have a sinister purpose in mind, and the frightened citizens cling to any manifestation of order they can find —music, cosmology, fascism. The novel's characters are unforgettable: the evil Mrs. Eszter, plotting her takeover of the town; her weakling husband; and Valuska, our hapless hero with his head in the clouds, who is the tender center of the book, the only pure and noble soul to be found.

Compact, powerful and intense, The Melancholy of Resistance, as its enormously gifted translator George Szirtes puts it, "is a slow lava flow of narrative, a vast black river of type." And yet, miraculously, the novel, in the words of The Guardian, "lifts the reader along in lunar leaps and bounds."

László Krasznahorkai lives in the hills of Szentlászló. He has written five novels and won numerous prizes. New Directions also publishes his novels War and War and Satantango; another novel, Seiobo There Below, is forthcoming.

George Szirtes is a poet who was born in Budapest in 1948 and is now living in London.
His translations have won the European Translation Prize and the Gold Star Award for the Republic of Hungary.

Cover painting: James Ensor, "The Entry of Christ into Brussels in 1889" (detail)

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Now in paperback, Satantango, the novel that inspired Bela Tarr's classic film, is proof that the devil has all the good times. Set in an isolated hamlet, the novel unfolds over the course of a few rain-soaked days. Only a dozen inhabitants remain in the bleak village, rank with the stench of failed schemes, betrayals, failure, infidelity, sudden hopes, and aborted dreams. "Their world," in the words of the renowned translator George Szirtes is "rough and ready, lost somewhere between the cosmic and tragic, in one small insignificant corner of the cosmos. Theirs is the dance of death." Into this world comes, it seems, a messiah...

"He offers us stories that are relentlessly generative and defiantly irresolvable. They are haunting, pleasantly weird, and, ultimately, bigger than the worlds they inhabit."—The New York Times Book Review

"The excitement of Krasznahorkai's writing is that he has come up with his own original forms - and one of the most haunting is his first, Satantango. There is nothing else like it in contemporary literature."—Adam Thirwell, The New York Review of Books

"Satantango is a monster of a novel: compact, cleverly constructed, often exhilarating, and possessed of a distinctive, compelling vision - but a monster nonetheless...The grandeur is clearly palpable."—The Guardian

"Krasznahorkai is alone among European novelists now in his intensity and originality. One of the most mysterious artists now at work."—Colm Toibin

"Profoundly unsettling."—James Wood, The New Yorker

"His inexhaustible yet claustrophobic prose, with its long, tight, weaving sentences, each like a tantalising tightrope between banality and apocalypse, places the author in a European tradition of Beckett, Bernhard, and Kafka."—James Hopkin, The Independent

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Winner of The Nobel Prize in Literature 2025

In The World Goes On, a narrator first speaks directly, then narrates a number of unforgettable stories, and then bids farewell (“here I would leave this earth and these stars, because I would take nothing with me”).

As László Krasznahorkai himself explains: “Each text is about drawing our attention away from this world, speeding our body toward annihilation, and immersing ourselves in a current of thought or a narrative…”

A Hungarian interpreter obsessed with waterfalls, at the edge of the abyss in his own mind, wanders the chaotic streets of Shanghai. A traveler, reeling from the sights and sounds of Varanasi, India, encounters a giant of a man on the banks of the Ganges ranting on and on about the nature of a single drop of water. A child laborer in a Portuguese marble quarry wanders off from work one day into a surreal realm utterly alien from his daily toils.

“The excitement of his writing is that he has come up with his own original forms—there is nothing else like it in contemporary literature.”

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Focusing on the artist's daring and provocative paintings, this new publication offers a fascinating introduction to Lee Lozano's pioneering practice.

During her short but prolific career, Lee Lozano produced a body of work of striking formal breadth and complexity, ranging from expressionist figurative drawings and paintings to minimalist abstract canvases and, finally, the late conceptual works for which she become well-known. An illuminating text by Lucrezia Calabrò Visconti-co-curator of 'Lee Lozano: Strike', a major survey exhibition that travelled from Turin's Pinacoteca Agnelli to Paris's Bourse de Commerce - is accompanied by a meticulous exhibition history that features a wealth of ephemera and archival material.

Remembered for her withdrawal and ultimate rejection of the art world, Lozano produced an oeuvre united by her determination to expose the ruthless division of the world into categories such as gender and to reject capitalism's demand for constant production. Capturing the unapologetic confidence and striking complexity that defined the artist's singular practice, In the Studio: Lee Lozano is an excellent resource for both newcomers and longtime admirers of Lozano's radical work.

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Stroke by Stroke is a pairing of two of Henri Michaux's most suggestive texts, Stroke by Stroke (Par des traits, 1984) and Grasp (Saisir, 1979), written towards the end of his life. Michaux's ideogrammic ink drawings accompany his poetic explorations of animals, humans, and the origins of language. This series of verbal and pictorial gestures is at once explosive and contemplative. Michaux emerges at his most Zen.

"I first encountered Michaux's astonishing work in Stroke By Stroke, a physically and conceptually beautiful little book . . . Reading Stroke By Stroke, I felt invited to travel "toward greater ungraspability"—and in our uncertain times, Michaux's ease with that is deeply reassuring."—Martha Cooley, The Common

Henri Michaux (1899-1994) was born in Namur, Belgium. His travels throughout the Americas, Asia, and Africa inspired his first two books, Ecuador and A Barbarian in Asia. In 1948, after the death of his wife, he devoted himself increasingly to his distinctive calligraphic ink drawings. Averse to publicity of any sort, in 1965 he refused the French Grand Prix National des Lettres. Michaux's other works in English translation include Emergences-Resurgences (Skira, 2001), Darkness Moves: An Henri Michaux Anthology (California, 1997), Tent Posts (Sun and Moon, 1997), and A Barbarian in Asia (New Directions, 1986).

Richard Sieburth's translations include Georg Büchner's Lenz, Friedrich Holderlin's Hymns and Fragments, Walter Benjamin's Moscow Diary, Gérard de Nerval's Selected Writings, Henri Michaux's Emergences/Resurgences, Michel Leiris' Nights as Day, Days as Night, and Gershom Scholem's The Fullness of Time. His English edition of the Nerval won the 2000 PEN/ Book-of-the-Month-Club Translation Prize. His recent translation of Maurice Sceve's Délie was a finalist for the PENTranslation Prize and the Weidenfeld Prize.

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Rare premiere issue (October 1978) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.

The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice. Early issues are be filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.

Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.

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Issue No 2 (December 1978) of June (magazine), the first yaoi (boys love or "BL") magazine in Japan, founded in 1978, named after the French author Jean Genet, with "june" being a play on the Japanese pronunciation of his name. An underground cult hit, June became synonymous with the BL genre, publishing male/male tanbi ("aesthetic") romances — stories written for and about the worship of idealised beauty, tragedy, and homoerotic romance between androgynous men and beautiful male youths, narratives that emphasise homosociality and de-emphasize socio-cultural homophobia, rich in decadence through the use of flowery language, baroque sexual fantasies and unusual kanji. The yaoi genre was coined by the female manga artists Yasuko Sakata and Akiko Hatsu and originated in the 1970s as a subgenre of shōjo manga, or comics for girls, influenced by the rising popularity of depictions of bishōnen ("beautiful boys"), a term for androgynous or effeminate male characters. June ushered in a new wave of — primarily female — manga artists and writers, including Keiko Takemiya, Tomomi Kobayashi, Kaoru Kurimoto, and Akimi Yoshida, and male artists such as Sadao Hasegawa, Gekko Hayashi, and Ben Kimura, publishing unsolicited manuscripts and homoerotic artworks alongside critical writings, reviews, and historical pieces, all centred around boys. Although it began typically as a genre by and for women, distinct from bara (gay manga created by men), June increasingly appealed to a gay audience, and played a significant role in the construction of a collective gay identity in Japan, alongside pioneering gay manga magazines such Barazoku, which featured many of the same artists. The June imprint ran various editions of the magazine, including the "large format" with many photos of youths and colour artworks, the popular Roman June ("Romantic June") which contained a mix of stories and manga, and Shousetsu June, and the original manga magazine.

The yaoi genre of June (also referred to as shōnen-ai "boy love") was heavily inspired by European decadent literature, philosophy, the homoerotic writings of Japanese authors Taruho Inagaki, Yukio Mishima, Yasunari Kawabata, Jun'ichirō Tanizaki, and the Bildungsroman (coming-of-age) literary genre as much as it was by pop culture and the androgyny of musicians such as David Bowie, Marc Bolan and David Sylvian, or actor Björn Andrésen's portrayal of Thaddeus in Visconti's 1971 film adaptation of Death in Venice.

These early issues are filled to the brim with lavish illustrations and comic stories, erotic fantasy fiction, photographs of "beautiful boys" (young film stars, catholic choir boys, musicians...), reviews, interviews, and essays, all rich with romantic connotations to the age of Decadence, Symbolism, and the aesthetics of the Victorian and Edwardian eras, as well as Japanese folklore.

Good—Very Good copy of this scarce early issue of June, published by Sun Publishing, Tokyo.

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A foundational work of queer theory.

First published anonymously in the notorious "Three Billion Perverts" issue of Félix Guattari's journal Recherches—banned by French authorities upon its release in 1973—The Screwball Asses was erroneously attributed to Guy Hocquenghem when it was first published in English in 2009. This second edition of that translation, with a new preface by Hocquenghem biographer Antoine Idier that clarifies the different theoretical positions within France's Front Homosexuel d'Action Révolutionaire, returns the text to its true author: writer, journalist, and activist Christian Maurel.

In this dramatic treatise on erotic desire, Maurel takes on the militant delusions and internal contradictions of the gay-liberation movement. He vivisects not only the stifled mores of bourgeois capitalism, but also the phallocratic concessions of so-called homophiles and, ultimately, the very act of speaking desire. Rejecting any “pure theory” of homosexuality that would figure its “otherness” as revolutionary, Maurel contends that the ruling classes have invented homosexuality as a sexual ghetto, splitting and mutilating desire in the process. It is only when nondesire and the desire of desire are enacted simultaneously through speech and body that homosexuality can finally be sublimated under the true act of “making love.” There are thousands of sexes on earth, according to Maurel, but only one sexual desire. The Screwball Asses is a revelatory disquisition.

Introduction by Antoine Idier
Translated by Noura Wedell

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A cult classic now back in print, this novel about sex, obsession, and art is one of the defining works of 1980s gay fiction.

A classic of postmodern fiction, Robert Glück’s Jack the Modernist portrays the slow disintegration of a love affair set in the early 1980s. Bob is excited and lonely. He meets and pursues the elusive Jack, a director who is able to transform others without altering himself. Bob goes to the baths, gossips on the phone, goes to a bar, thinks about werewolves, has an orgasm, and discovers a number of truths about Jack. Out of print for decades, Glück’s paean to desire and obsession explores the everyday in an idiom both intimate and lush. Sensual as well as sensational, self-conscious, but never self-serious, Jack the Modernist is a candid and heartfelt lover’s discourse unlike any other.

“Jack the Modernist is the novel with the most information and most beauty. Glück is an extraordinary philosopher of ethics, aesthetics, and the English sentence—a thinker of the originality of William James, with the formal range of his brother Henry. This republication is cause for celebration not only because Jack the Modernist is an utter joy to read but because it calls our attention to an era-defining artist and public intellectual in our midst.”
—LUCY IVES

“In Jack the Modernist we find a testing and perfecting of language so skillful it appears to merge completely with the author’s intelligence and feelings.”
—DENNIS COOPER

“In Jack the Modernist self-exploration is so precise as to become impersonal. And some real sex at last. One is reminded of Genet and the transmutation of sex into something beyond sex. Glück even makes the disappointments, impasses, and blind alleys of love moving and interesting. He seems to say everything in a fresh way. Not since Genet have we seen such pure love of the human body and soul . . . seen as one flesh palpable as a haze.”
—WILLIAM S. BURROUGHS

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The Italian film-maker Pier Paolo Pasolini was first and always a poet—the most important civil poet, according to Alberto Moravia, in Italy in the second half of this century. His poems were at once deeply personal and passionately engaged in the political turmoil of his country. In 1949, after his homosexuality led the Italian Communist Party to expel him on charges of "moral and political unworthiness," Pasolini fled to Rome. This selection of poems from his early impoverished days on the outskirts of Rome to his last (with a backward longing glance at his native Friuli) is at the center of his poetic and filmic vision of modern Italian life as an Inferno.

"From all these refusals, we know what Pasolini stood against—political ideologies of all kinds, the complacency inherent in the established social order, the corruption of the institutions of church and state. If Pasolini could be said to have stood for anything it was for the struggles of Italy's working class—both the rural peasants and those barracked in the urban slums at the edges of Italian cities—whose humanity he evoked with great eloquence and nuance. But it is his refusals that animate his legacy with an incandescent rage, a passionate and profound fury that did not, as Zigaina suggests, cry out for death—but for just the opposite." —Nathaniel Rich, The New York Review of Books

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Presented here for the first time in English is a remarkable screenplay about the apostle Paul by Pier Paolo Pasolini, legendary filmmaker, novelist, poet, and radical intellectual activist. Written between the appearance of his renowned film Teorema and the shocking, controversial Salò, or the 120 Days of Sodom, St Paul was deemed too risky for investors. At once a political intervention and cinematic breakthrough, the script forces a revolutionary transformation on the contemporary legacy of Paul. In Pasolini's kaleidoscope, we encounter fascistic movements, resistance fighters, and faltering revolutions, each of which reflects on aspects of the Pauline teachings. From Jerusalem to Wall Street and Greenwich Village, from the rise of SS troops to the death of Martin Luther King, Jr, here— as Alain Badiou writes in the foreword—"Paul's text crosses all these circumstances intact, as if it had foreseen them all."

This is a key addition to the growing debate around St Paul and to the proliferation of literature centred on the current turn to religion in philosophy and critical theory, which embraces contemporary figures such as Alain Badiou, Slavoj Žižek and Giorgio Agamben.

Translated by Elizabeth A. Castelli
Preface by Alain Badiou
Introduction by Ward Blanton

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Rare and collectible early issue of the acclaimed 'Magazine for Architectural Entretainment', PIN–UP. Issue 6, S/S 2009, back when the print-run was surprisingly small and magazines were still fantastic.

"PIN–UP 6, Spring Summer 2009. A mid-recession tour de force. Hot fluorescent pink, green, purple, and orange. A potent mix of Meier, Wines, and Ishigami. Plus: flowers, Sylvia Lavin, and Dynasty. The last PIN–UP to be staple-bound. A must-have in any PIN–UP collection."—from PIN-UP website

Featuring:
RICHARD MEIER
The authority on all things white is one colorful character
Interview by Horacio Silva
Photography by Katja Rahlwes

DAVID KOHN
The cunning fox behind London’s new eclecticism
Interview by Caroline Roux
Photography by Devin Blair

ROY MCMAKIN
Forever blurring the makers of art, architecture, and design
Interview by Michael Ned Holte
Photography by Julika Rudelius

JUNYA ISHIGAMI
The minimalist’s darling is a nature lover at heart
Interview by Beatrice Galilee
Photography by Takashi Homma

JAMES WINES
The perpetual nonconformist has the last laugh
Interview by Michael Bullock
Photography by Miguel Villalobos

Also:
Floor plans from Dark Rooms Atlas examine the ideal architecture of gay cruising spots in Barcelona. Andreas Angelidakis tinkers with the intersection between technology and physicality, using programs like Second Life to create his playfully geometric structures. Brooklyn-based design studio labDORA fuses computer-coded design with waxy blobs. A look into Eric Lloyd Wright’s unfinished house, a sparse concrete structure perched on the summit of California’s Malibu hills. Art by Thomas Ravens juxtapose the whimsy of watercolors with images of failed utopia. PIN–UP pays homage to Dan Friedman via collage, mixing the artist’s wacky furniture with found objects. Sketches for chairs by various designers reveal the complicated and raw psychology behind creating one of the most fundamental entities of design. PIN–UP reconsiders the basic shapes of architecture via bouquets and topiary arrangements. Screenshots from Dynasty pay tribute to set designer Brock Broughton. Suleman Anaya examines the logic behind architecture’s emotional impact, both in films and in his life. Maia Morgensztern writes about the economic and cultural impact of opening a Louvre museum on the island of Saadiyat, located off the coast of Abu Dhabi. Sylvia Lavin on the impact that Richard Neutra’s windows had on reshaping postwar buildings. Paul Elliman remembers Dan Friedman and the interplay between design and contemporary art. And a look at the interactive, anamorphosis paintings of Felice Varini, who uses light projectors to paint shapes that seemingly levitate within the space.

Very Good copy, light wear.

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Rare and collectible early issue of the acclaimed 'Magazine for Architectural Entretainment', PIN–UP. Issue 3, F/W 2007-2008, back when the print-run was surprisingly small and magazines were still fantastic.

"The power of three. PIN–UP’s third issue combines theory with architectural fun and games. An inescapable document of the late 2000s New York scene and beyond. One of PIN–UP’s few staple-bound issues. VERY RARE."—from PIN-UP website

Featuring:
JULIUS SHULMAN
The photography legend shares his love for gardening with a young Los Angeles architect
Interview by Fritz Haeg
Photography by Todd Cole

ROBERT WILSON
The artist and director reflects on the objects of his affection
Text by Horacio Silva
Photography by Todd Eberle

K/R ARCHITECTS
Straight talk with two mellowed New York modernists
Interview by Aric Chen
Photography by Disco Meisch

BALL-NOGUES & GANDALF GAVAN
East and West Coast meet on the threshold of art and architecture
Interview by Pierre Alexandre de Looz
Photography by Gandalf Gavan
Drawings by Ball-Nogues

Also:
A Thierry Mugler fashion shoot from May 1980 conjures up the irresistible dynamic of Gotham’s darker, bolder days. One last visit to Robert Wilson’s former TriBeCa loft for a glimpse at his cargo cult of collectibles. Photographer Chris Mottalini captures the “beautiful ruins” of one Paul Rudolph house in Westport Connecticut, moments before it is demolished. A look back at the work of Tony Duquette, the designer who evoked the exotic strangeness of the natural world. A two-part meditation on the “folly of ruins” — in photographs and text. Lorenz Cugini and Richard Petit provide two distinct studies of the usually veiled dialogue between chairs and bodies. Ben Widdicome examines the position of the architect in popular cinema and, by extension, society-at-large. Ted Trussel Porter investigates the influence of David Whitney on his paramour Philip Johnson’s interiors. A letter sent across the Iron Curtain by German architect Hans Scharoun to his Czechoslovakian student and collaborator Lubomir Šlapeta. Mike Kelley and Paul McCarthy stage a critical conversation between avant-garde and kitsch with their installation Heidi at the Krizinger Gallery in Vienna. Some notes on play and architecture in the 1950s and 1960s by Dirk van den Heuvel. PIN–UP takes a fresh look at the aging beauty of Hong Kong’s Cultural Centre. A peek inside the VIP Suites Caracas —a n iconic landmark made over as a boutique hotel by New York architects Ashe+Leandro. Photographs by Marcelo Krasilcic invite you to imagine a scenario of your own in Steve McQueen’s recently restored Palm Springs residence. Simon Fujiwara turns the Documenta town’s ’80s civic architecture into an effervescent intervention. And photographer Adrian Gaut time-travels to Prague to recapture the creativity and forward-thinking work of 20th Century Czech theatre designers.

Very Good copy, light wear.

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English edition of this wonderful tribute to one of the fathers of international modernism, James Ensor.

James Ensor’s visionary spirit takes us on a journey through his manifold universe of still lifes, self-portraits, savage visions, carnival and satire. In the course of his career, Ensor grew into an unruly gamechanger who personally reset the rules of art. As he did so, he resolutely distanced himself from the classical European ideal of beauty and from the Impressionism that had initially fascinated him.

Ensor did not limit himself to painting – he also unleashed his passion for experiment in detailed drawings, huge collages and potent etchings. His love for the fanciful resulted in characteristically grotesque representations of countless wild dreams.

The pulse of a thrilling late nineteenth century beats through the more than two hundred works reproduced in this book. Ensor constantly surprises us with his contrasts between the comical and the macabre, the refined and the wanton, atmospheric bourgeois interiors and morbid skeletons.

Drawing on their wide-ranging expertise, fifteen authors each highlight specific facets of the Ostend artist’s developing practice to paint a fresh and comprehensive picture of Ensor’s life and work.

This publication accompanies the exhibition In Your Wildest Dreams – Ensor Beyond Impressionism from 28 September 2024 until 19 January 2025 at the Royal Museum of Fine Arts Antwerp (KMSKA).

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Exquisitely designed and produced book dedicated entirely to the photography of the German artist Hans Bellmer (1902—1975). Produced in French by Editions Filipacchi, Centre Georges Pompidou, and Musee National D'art Moderne in Paris in 1983, this scarce Japanese hardcover printing (produced and printed in Japan that same year) features a different cover, with translations to the Japanese language of the introductory essay and texts. A beautiful photo book densely illustrated with colour and black and white reproductions of Bellmer's infamous doll photography, his many studies of the female nude (including those of his wife, artist Unica Zürn), and rare photography of his objects and sculptural assemblages, his studio, and more, this volume captures an important Surrealist visionary and one of the most daring artists of the 20th century through his stunning photography. Features the wonderful "La Poupee" — Hans Bellmer's articulated, anatomically amorphous Surrealist doll, reconfigured and captured through Bellmer's intimate hand-painted photographic images. "La Poupee" acquired iconic status as perhaps the purest exemplification of the Surrealist ideal of "convulsive beauty." Bellmer constructed his first doll in the early 1930s. André Breton and Paul Eluard described it as "the first and only Surrealist object with a universal, provocative power".

German artist Hans Bellmer (1902—1975) was one of the most subversive artists associated with Surrealism, famous—notorious, even—for his erotic engravings, objects and photographs. Many of Bellmer's works were inspired by the literary works of Comte de Lautréamont, Marquis de Sade and Georges Bataille, amongst others.

Very Good copy in VG dust jacket with light wear/light foxing.

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Featuring paintings from series that span from 1994 through 2009, this volume traces Mike Kelley's (1954–2012) engagement with the medium through bodies of work including The Thirteen Seasons (Heavy on the Winter), a series of oval-shaped paintings on wood; Timeless Painting, which marked Kelley's distinct return to painting in colour, and which he described as "mannerist take-offs on Hans Hofmann's compositional theory of ‘push and pull'"; and the Horizontal Tracking Shots series.

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First limited hardcover edition of this wonderful Unica Zürn (1916-1970) collection of artworks. Beautifully produced, profusely illustrated, and long out-of-print, this rare volume is still one of the most cherished and comprehensive collections of Zürn's artwork ever published. This lovely limited-edition survey collects together her drawings done between 1954 and 1967, 300 drawings almost all unpublished, facsimiles of her sketch-books, and reproductions of her highly-collectible artist books produced throughout her life (Hexentexte, Oracles et Spectacles, etc.), all accompanied by bibliographic information, making it a invaluable reference. Illustrated introduction by publisher Erich Brinkmann. Texts in bi-lingual German and English.

The German artist and writer Unica Zurn (1916-1970) joined the ranks of Surrealism in the 1950s, after moving to Paris and taking up residence with the German-born Surrealist Hans Bellmer. Drawn to the movement's espousal of automatic drawing and writing, Zurn pursued Henri Michaux's declaration that "the hand dreams," making a vocation of these techniques with drawings and paintings that are labyrinthine in detail, as one form sprouts out of another. Zurn 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." This lovely limited-edition survey reproduces drawings done between 1954 and 1967.

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, light wear.

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Featuring the Baschet Brothers' Sculpture Sonores, Cecil Taylor, Max Roach, John Cale, Eliane Radigue, Pierre Favre, Mauricio Kagel, Annae Lockwood, and many more. In-depth articles, interviews, reviews, all heavily illustrated.

Good copy, light wear, missing CD.

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"A chrestomathy of dicey enchantments.'—CITY LIMITS

Now rare, long out-of-print 1985 Atlas Anthology 3, edited by Alastair Brotchie & Malcolm Green. "Benign Pollution, Enthused Writing". The third production from the legendary Atlas Press, the third general anthology and the first book to be actually typeset (a very expensive business in those days).

Features: Hans Carl Artmann, Pierre Albert-Birot, Wolfgang Bauer, Konrad Bayer, Pierre Bettencourt, Peter Blegvad, Andre Breton, Jean-Pierre Brisset, Günter Brus, René Crevel, David Gascoyne, Alfred Jarry, James Kirkup, Karl Kraus, Jean Lorrain, Harry Mathews, Gustave Meyrink, Pier Paolo Pasolini, Georges Perec, Benjamin Peret, Oskar Panizza, Raymond Queneau, Jacques Rigaut, Herbert Rosendorfer, Raymond Roussel, Paul Scheerbart, Mathew Phipps Shiel, Kurt Schwitters, Boris Vian, Austryn Wainhouse, Robert Walser, Unica Zürn, Etcetera Etc.

"Here is a prose based on Romanticism, in this century focused around the early Expressionism and the Surrealist movement. It is a literature of unusual beauty and bitter humour, political (in the widest sense), it asserts a complete freedom of form and content. Neither 'cool', restrained nor boring! An important collection of unjustly neglected authors, past and present, which includes many who are seldom translated into English."

Highest recommendation.
Good—Very Good copy complete with all the paste-ins. General wear and tanning.

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Rare first 1973 edition of acclaimed Japanese photographer Hajime Sawatari's cult photo book "Nadia" (aka Doll Forest Museum/Nadia in the Woods). Sawatari began working as a freelancer in 1966, photographing for many leading fashion magazines in Japan. Sawatari fell in love with the Italian fashion model Nadia Galli while working with her on an advertisement back in 1971. Driven by the photographer’s desire to capture on film everything about the person he loved, Sawatari took Nadia with him on an extensive journey. Traveling around Karuizawa in the summer, Venice, Sicily and other locations in Nadia’s home country, Karuizawa in the Winter, and Tokyo, his focus on Nadia switched between viewing her as a photographic subject and a lover, resulting in Sawatari establishing his own unique semi-fictional style of “capturing a woman in a back-and-forth between reality and fiction,” which marked a clear departure from his previous female portraits, and opened a new frontier in the realm of photography. This dreamlike and intimate series of monochrome portraits of Nadia weaves a fairytale-like, visual travelogue akin to Sawatari's other cult classic of the same year, Alice. Playful, intimate and at times hallucinatory, the book closes with a lovely hand-written letter by Nadia in Japanese and a photographic portrait of Sawatari, also by Nadia. A gorgeous book.

Number 3 in Camera Mainichi's Private series.

Very Good copy, tightly bound and clean with some wear to covers, corners. Very nice copy for a book that is usually heavily damaged.

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First 1991 English-language softcover edition, volume 3, of Italian illustrator Guido Crepax's famous graphic adaptation of The Story of O, one of the most famous erotic novels of all time, by French literary critic, journalist, and novelist, Anne Cécile Desclos (1907—1998), under the pen name Pauline Réage. A beautiful display of Crepax's dizzying, rhythmic paneling and beautiful, erotically-charged ink work, as imaginative as the literary work of Réage.

"A rare thing, a pornographic book well written and without a trace of obscenity"—Graham Greene.

Guido Crepas (15 July 1933 in Milan - 31 July 2003 in Milan), better known by his nom de plume Guido Crepax, was an Italian comics artist. He studied at the School of Architecture at the University of Milan. After graduating, he made his debut in comic books in 1959 when he contributed his work to Tempo Medico. He joined the new magazine Linus in 1965 with a fantasy comic, 'Neutron', a superhero comic about an art critic with the mysterious power to stop humans or objects via his gaze. It featured a minor character called Valentina, a fashionable, communist Milanese photographer born in 1942, who quickly became Crepax's protagonist and his most famous creation. Valentina became an underground icon of 1960s culture. Crepax's work became noted for his very sophisticated expressionistic yet graphic drawing style, his truely innovative panel work and his unusual compositions that seemed to have more in common with modern art and film than comic strips. His psychedelic, dreamlike storylines were immersive, generally involving a strong dose of erotism and a predilection towards sadomasochism and the surreal. After 'Valentina', other titles followed, such as 'L'Astronave Pirata' (1968), 'La Casa Matta' (1969), 'La Calata di Mac Similiano' (1969), 'Belinda', 'Anita' and 'Bianca'. Crepax's illustrated adaptations of classic erotic stories like De Sade's 'Justine', Pauline Réage's 'Histoire d'O' and Sacher-Masoch's 'Venus in Furs' brought him further acclaim, especially to English audiences who had mostly only read translated Crepax through the pages of Heavy Metal magazine.

Very Good copy.

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Wonderful large-format, hardcover 1988 edition of Guido Crepax's 'Anita in Diretta', one of the great Crepax books in all it's dizzying, rhythmic paneling and beautiful use of colour, compiling two complimentary Anita stories - 'Input Anita' (1986) and 'Anita Color' (1987). Here Crepax evokes two fantastic erotic "environments" that stem from the growing universe of technology in the 1980s and the world's new-found obsession with screens. In the first, Anita is swept into a vortex of mental delirium because she anthropomorphises the data of her computer and transforms into reality what appears on her screen. In the second, in parallel, Anita masturbates to her television, fantasising about the endless characters and scenarios that change with each flick of the remote. Anita meets-clashes in both cases with the magical surface of the unifying screen, a producer of cold imagination, which the individual transforms into a lived, private experience. This participation is strongly unconscious, and in Crepax's stories there is an unacknowledged denunciation of fantasy based on technology. The last step in each story is in fact the "dispossession" of Anita's personality by the fantasy machine, her fall into psychosis, demonstrating that the excess of empathy into the illusionary screen ends up producing a new, dangerous reality.

Guido Crepas (15 July 1933 in Milan - 31 July 2003 in Milan), better known by his nom de plume Guido Crepax, was an Italian comics artist. He studied at the School of Architecture at the University of Milan. After graduating, he made his debut in comic books in 1959 when he contributed his work to Tempo Medico. He joined the new magazine Linus in 1965 with a fantasy comic, 'Neutron', a superhero comic about an art critic with the mysterious power to stop humans or objects via his gaze. It featured a minor character called Valentina, a fashionable, communist Milanese photographer born in 1942, who quickly became Crepax's protagonist and his most famous creation. Valentina became an underground icon of 1960s culture. Crepax's work became noted for his very sophisticated expressionistic yet graphic drawing style, his truely innovative panel work and his unusual compositions that seemed to have more in common with modern art and film than comic strips. His psychedelic, dreamlike storylines were immersive, generally involving a strong dose of erotism and a predilection towards sadomasochism and the surreal. After 'Valentina', other titles followed, such as 'L'Astronave Pirata' (1968), 'La Casa Matta' (1969), 'La Calata di Mac Similiano' (1969), 'Belinda', 'Anita' and 'Bianca'. Crepax's illustrated adaptations of classic erotic stories like De Sade's 'Justine', Pauline Réage's 'Histoire d'O' and Sacher-Masoch's 'Venus in Furs' brought him further acclaim, especially to English audiences who had mostly only read translated Crepax through the pages of Heavy Metal magazine.

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Krzysztof Kieślowski's untimely death in 1996 robbed cinema of one of its great visionaries. Published a year before his passing, this 1995 English paperback edition of Kieślowski on Kieślowski, published by Faber & Faber and edited by Danusia Stok provides an rare, intimate insight into his world, moving between Poland and France and creating some of the most important cinematic works of the late 20th century.

"Decalogue, The Double Life of Veronique and his new trilogy, Three Colours, have earned Kieslowski his reputation as a world-class film-maker. Kieślowski is notoriously reticent, and even dismissive of his work and talent, but these frank and detailed discussions show a passion for film-making and a career which has been often threatened by political and economic change within Poland. He talks at length about his life: his childhood, disrupted by Hitler and Stalin; his four attempts to get into film school; and what Poland and its future mean to him now."

VG copy, light tanning to block, light wear.

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