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:
THU—FRI 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 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. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or 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.
2025, English
Softcover (w. dust jacket), 256 pages, 19 x 12.5 cm
Published by
Mandylion Press / Connecticut
$48.00 - Out of stock
For fans of body horror, Everett pens the freakiest metaphysical thriller you've never heard of
Frances Bethune is desperate to lose weight before her husband's return from India--in just two weeks. On the advice of a bad-breathed spirit, Frances undertakes a slenderizing séance. While she succeeds in her quest for thinness, she is horrified to discover that her discarded weight has taken on a new life of its own. Of this chilling, revolting tale, H.P. Lovecraft raved that Everett "reaches singular heights of spiritual terror."
This new edition from Mandylion Press restores Everett's 1907 masterpiece. It features an original introduction written by Mandylion cofounder Madeline Porsella, as well as a glossary that provides visual, material and affective image footnotes.
Henrietta Dorothy Everett (1851-1923) was born in Kent, England. Between 1896 and 1920, she published 22 books under the pen name Theo Douglas. She was an influential figure in the early days of science fiction and fantasy writing, and was cited in H.P. Lovecraft's extended 1927 essay "Supernatural Horror in Literature."
1986, English
Softcover, 154 pages, 19.5 x13 cm
Out of print title / used / very good
Published by
Penguin Books / London
$35.00 - In stock -
"Before her husband's death, Etsuko had already learnt that jealousy is useless unless it can be controlled.
So when she arrived as a young widow at her late husband's family farm near Osaka, Etsuko resolved to hold her emotions in check, silently tolerating the nocturnal embraces of her father-in-law as she nursed a new, secret passion. Saburo was only a simple farm hand, but she knew that her feelings for this beautiful, simple youth were the only real feelings she had. All that mattered was that she should convey their reality to him – and be answered. Jealousy, love, passion, hatred – she could control them all as long as there was hope...
But as that hope stretched thinner and thinner, Etsuko's frustrated desire gathered a momentum that could only be checked by an unspeakable act of violence."
YUKIO MISHIMA, one of the most spectacularly gifted writers in modern Japan, was born into a samurai family in 1925. Yukio Mishima was a Japanese author, poet, playwright, actor, model, Shintoist, nationalist, and founder of the Tatenokai ("Shield Society"), an unarmed civilian militia. Mishima is considered one of the most important Japanese authors of the 20th century. He was considered for the Nobel Prize in Literature in 1968. His works include the novels Confessions of a Mask and The Temple of the Golden Pavilion. Mishima's work is characterized by "its luxurious vocabulary and decadent metaphors, its fusion of traditional Japanese and modern Western literary styles, and its obsessive assertions of the unity of beauty, eroticism and death", according to author Andrew Rankin. In November 1970 he and his Tatenokai forced their way into a Self-Defense Force headquarters in Tokyo, where Mishima, after reading out a proclamation, committed ritual suicide with a young follower in the commanding officer's room. On the morning of his death, the last volume of Mishima's tetralogy, The Sea of Fertility (The Spring Snow, Runaway Horses, The Temple of Dawn, The Decay of the Angel) was delivered to his publisher.
Very Good copy.
1994, English
Softcover, 152 pages, 21.5 x 14 cm
Out of print title / used / good
Published by
Marion Boyars / London
$30.00 - Out of stock
Cortázar's stories are like small time-pieces, where each jewelled and polished part moves relentlessly on its own particular path, while wielding a crucial and perpetual influence on the mechanism as a whole. Situations double, slip by: moments jerk forward and retract, reflect and refract; an island at noon from an aeroplane an aeroplane at noon from an island; the living deceiving the dying and themselves about death; death by fire in an ancient Roman arena and in a modern city apartment. It is a world that is constantly shifting. upsetting our balance and our peace of mind. It is a world, writes one critic, that is like 'a Chirico landscape, outside of all time, in which mysterious thread-ends from the realm of the sub-conscious provoke responses of fascination and terror in the primordial depths of our psyches.'
'He is a man who has married surrealism to the kind of fiction we associate with Poe and Stevenson, who has persistently and brilliantly rewritten "Dr Jekyll and Mr Hyde" in a manner which has nothing to do with psychology and everything to do with mystery. He is the apostle of the lives we have chosen not to live... Cortázar keeps our ghosts alive, and we need him.'—New York Times Book Review
'It is at its finest when characters see themselves only as flicked back and forth by the force of self-generated images by the echoes of vampirism, basilisks, resemblances of face and sound, which recur in differing forms in Vienna, Paris and London.'—New Statesman
Julio Cortázar, an Argentinian, was born in Brussels in 1914 and lived and worked in Paris from 1952 until his death in 1984. He first captivated the English-speaking world through Antonioni's film Blow-Up. Although he was best known as a novelist and short story writer, he was also a poet, a translator and an enthusiastic amateur musician.
Good copy with some marking to block edge and light wear to covers
1994, English
Softcover, 346 pages, 23 x 15.5 cm
Out of print title / used / very good
Published by
Sinclair-Stevenson / London
$25.00 - In stock -
Considered by many the greatest painter since Turner, Francis Bacon lived the life of an outsider in violent times. Sinclair explores the influences of Bacon's childhood in Ireland and his youth in Berlin and Paris, and London in the Depression. He takes this turbulent life through to a wise and witty old age, with its extraordinary refusal of honours, fame and riches. Sinclair has also produced biographies of Jack London and John Ford.
G—VG copy with light wear to extremities, page tanning.
1992, English
Softcover, 386 pages, 21.5 x 13.5 cm
Out of print title / used / very good
Published by
Princeton University Press / New York
$25.00 - In stock -
1992 Princeton edition.
Among the most influential books on tragedy written in the past half-century, Walter Kaufmann's Tragedy and Philosophy develops a bold poetics based on the author's critical reexamination of the views of Plato, Aristotle, Hegel, and Nietzsche. Not only does this book reveal ancient Greek tragedy as surprisingly modern and experimental, but it also recasts such concepts as mimesis and catharsis, "pity and fear," hubris, the tragic collision, and the "death of tragedy."
"Walter Kaufmann . . . is a philosopher with a penchant for the kind of fresh thinking that philosophers rarely do. Here he has attempted a searching analysis of the essence of tragedy. He offers a new definition and, without raising his voice, his version of poetics as against that of Aristotle." —The New York Times
"The book as a whole is a tribute to the author's impressive scholarly and critical virtuosity." —Classical Philology
Walter Kaufmann (1921-1980) was Professor of Philosophy at Princeton University. This book is the third in a trilogy that includes his Critique of Religion and Philosophy and From Shakespeare to Existentialism. Kaufmann is also the author of Nietzsche: Philosopher, Psychologist, Antichrist.
Very Good copy with corner crease to back cover corner top.
1968, English
Softcover, 576 pages, 20.5 x 13 cm
Reprint?,
Out of print title / used / very good
Published by
Vintage / UK
$20.00 - In stock -
Represents a selection from Nietzche's notebooks to find out what he wrote on nihilism, art, morality, religion, and the theory of knowledge, among others. Edited by Walter Kaufmann.
Nietzsche's notebooks, kept by him during his most productive years, offer a fascinating glimpse into the workshop and mind of a great thinker, and compare favorably with the notebooks of Gide and Kafka, Camus and Wittgenstein. The Will to Power, compiled from the notebooks, is one of the most famous boooks of the philosophy. Here is the first critical edition in any language.
Down through the Nazi period The Will to Power was often mistakenly considered to be Nietzche's crowning systematic labor; since World War II it has frequently been denigrated. In fact, it represents a stunning selection from Nietzsche's notebooks, in a a topical arrangement that enables the reader to find what Nietzsche's wrote on a variety of subjects.
Walter Kaufmann, in collaboration with R. J. Holilngdale, brings to this volume his unsurpassed skills as a Nietzsche translator and scholar. Professor Kaufmann has included an approximate date of each note. His running footnote commentary offers information needed to follow Nietzsche's train of thought, and indicates, among other things, which notes were eventually superseded by later formulations. The comprehensive index serves to guide the reader to the extraordinary riches of this book.
VG copy, light wear, foxing/tanning.
1975, English
Softcover, 532 pages, 23.5 x 15.5 cm
Out of print title / used / good
Published by
Princeton University Press / New York
$30.00 - In stock -
"The fourth edition of this major work includes a new preface and a new section at the end of the book. Professor Kaufmann has also extensively updated the bibliography and has made dozens of changes throughout the text, some of which affect the interpretation of major ideas, such as the death of God.
Comments on first edition:
"A work of great superiority over everything previous- ly achieved in Nietzsche criticism and interpretation."—Thomas Mann
"This is the most sensible exposition of Nietzsche's philosophy ever made."—A.J.P. Taylor, The New Statesman and Nation
"An important historical and philosophical contri- bution. Mr. Kaufmann's analysis of Nietzsche's life, thought, and influence is extremely well-informed, thorough, and searching, and rids us of many inter- pretations due to popularized Nietzscheanism. Indispensable for anyone concerned with Nietzsche."—Jacques Maritain
"No attempt at paraphrase could bring out the compact richness of this book."—Crane Brinton, The Saturday Review
"Mr. Kaufmann has produced what may be the defini- tive study of Nietzsche's life and thought-an informed, scholarly, and lustrous work."—The New Yorker
Good copy, light wear/age.
1976, English
Softcover, 640 pages, 23 x 15 cm
1st Edition, Out of print title / used / good
Published by
University of California Press / Berkley
$20.00 - In stock -
"Film teachers and students will welcome this new anthology, which makes available in one source a comprehensive selection of recent theoretical work on film, including many articles difficult to locate in the scattered literature. The contents are drawn almost entirely from the publications of the past fifteen years, and include work by the most original film thinkers—some well known to a wide public, some widely known among readers of film journals. Several important filmmakers are also represented.
The materials have been grouped in critical categories reflecting recent approaches to the medium. In place of older questions such as the relation of film to other arts, or film's ability to capture an imprint of reality, the questions emphasized in the anthology concern film's ideological operations, the nature of film genres, the role of the auteur in the creative process, the representation of social groups (such as women) in film, the logical of narrative and formal organizations in films, the treatment of films as myths, and new theoretical perspectives. Thus the contents reflect the use of political, structualist, semiological and psychoanalytic methods, as well as those of more traditional criticism. There is virtually no duplication of materials included in the Mast & Cohen anthology Film Theory and Criticism.
The editor has provided an overall general introduction, and mini-introductions to each text. A glossary of terms used in structuralist-semiological work is included, and lists of additional readings are provided.
Its scope and careful organization will make this volume a fundamental resource for film scholarship and teaching."
Texts by Susan Sontag, François Truffaut, André Bazin, Umberto Eco, Yves De Laurot, Pier Paolo Pasolini, William Rothman, Peter Wollen, Raymond Durgnat, Thomas Elsaesser, Andrew Tudor, Iew Hwa Beh, Alan Lovell, David Macdougall, Brian Henderson, Robin Wood, Stephen Koch, V F Perkins, Sam Rohdie, Daniel Dayan, and many others.
Good copy with general wear/age, tanning/creases.
1997, English
Softcover, 244 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
Cambridge University Press / Cambridge
$15.00 - In stock -
How do gender and race become objects of intellectual inquiry? What happens to marginal discourses when they participate in the academic processes of scrutiny and evaluation? In Women Intellectuals, Modernism, and Difference, Alice Gambrell examines the careers of a group of women intellectuals - Leonora Carrington, Ella Deloria, H. D., Zora Neale Hurston, and Frida Kahlo - whose scholarly rediscovery coincided with the rise of feminist and minority discourse studies in the academy. She examines the exhibitions, memoirs, poems, ethnographies, and personal correspondences these women produced, combining concrete local observation with contemporary theoretical perspectives on race and gender. Through a mixture of empirical detail and theoretical speculation, Gambrell explores the role these women played in expanding the conception of American literature by their involvement in the Harlem Renaissance. She offers new ways of thinking about the relationships between cultural studies, feminism and minority discourse within the ongoing reassessment of modernism.
Good copy, crease to front top corner, light wear.
1992, English
Softcover, 224 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Polity / US
$20.00 - In stock -
This book offers a systematic attempt to explore the point of convergence between feminist theory and the work of Michel Foucault.
Lois McNay is the author of Foucault and Feminism: Power, Gender and the Self, published by Wiley.
'Thought-provoking account.'—Times Higher Education Supplement
'Lois McNay has produced an attractively clear and critical account of how feminists might use Foucault's last works.'—Sociology
'It offers a clearly written and thorough, critical survey of Foucault's last publications. This, in turn, is balanced by a wide-ranging and equally critically review of recent developments within contemporary feminist ethical theory. It is well worth the read!!'—Women's Philosophy Review
'This is an excellent book, lucid, carefully argued, sympathetically critical and a great pleasure to read.'—Jeffrey Weeks, South Bank University
VG copy.
1997, English
Softcover, 248 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Routledge / London
$15.00 - In stock -
In a fascinating account of how technology is altering our consciousness, Celia Lury shows how the manipulation of photographic images and ways of seeing can so redefine the relation between consciousness, the body and memory as to create a 'prosthetic culture' whose capacities both extend and threaten our humanity.
We live in a society in which some memories can be falsely implanted in the individual while others are stored in video archives of images, in which the powers of cartoon superheroes break through the limitations of time and space. Using the examples of photo-therapy, family albums, Benetton advertising campaigns, the phenomenon of false memory syndrome and the 'lives' of cartoon characters this book argues that the 'eyes' made available by contemporary visual technologies involve not simply specific ways of seeing, but also ways of life.
Very Good copy.
2025, English / French
Hardcover (clothbound), 224 pages, 29.5 x 25 cm
Published by
Hauser & Wirth / Zurich
$110.00 - Out of stock
Documenting the great, late, neglected work of a modernist master.
Prefaced by Beverley Calté, president of the Comité Picabia, this book delves into Picabia’s practice between the years 1945 to 1952—an incredibly rich period during which Picabia created paintings unlike anything he had produced before, working alongside the growing Art Informel movement in Paris.
Essays by art historians Arnauld Pierre and Candace Clements shed new light on the hidden signs and symbols buried in his abstractions, the new painting techniques he employed, and the mysterious and fantastical reappearance of the “dot” in his work.
'Éternel recommencement / Eternal Beginning' is an essential resource, marking the first focused exploration of a crucial chapter of Picabia’s practice.
1993, English
Softcover, 368 pages, 23 x 15 cm
1st Edition, Out of print title / used / very good
Published by
University of California Press / Berkley
$30.00 - Out of stock
Pier Paolo Pasolini (1922-1975) was arguably the most complex director of postwar Italian cinema. His films—Accattone, The Canterbury Tales, Medea, Saló—continue to challenge and entertain new generations of moviegoers. A leftist, a homosexual, and a distinguished writer of fiction, poetry, and criticism, Pasolini once claimed that "a certain realism" informed his filmmaking.
Masterfully combining analyses of Pasolini's literary and theoretical writings and of all his films, Maurizio Viano offers the first thorough study of Pasolini's cinematic realism, in theory and in practice. He finds that Pasolini's cinematic career exemplifies an "expressionistic realism" that acknowledges its subjective foundation instead of striving for an impossible objectivity.
Focusing on the personal and expressionistic dimensions of Pasolini's cinema, Viano also argues that homosexuality is present in the films in ways that critics have thus far failed to acknowledge. Sure to generate controversy among film scholars, Italianists, and fans of the director's work, this accessible film-by-film treatment is an ideal companion for anyone watching Pasolini's films on video.
"Superb. . . . In its careful handling of the biographical and the autobiographical, the factual and the speculative, this book will become a model for how studies of individual directors should be done in the future."—Peter Brunette, author of Roberto Rossellini
Maurizio Viano is Associate Professor of Italian at Wellesley College.
VG copy.
2017, English
Softcover, 56 pages, 11.4 x 17.8 cm
Published by
Wakefield Press / Cambridge
$26.00 - Out of stock
District describes, in ten vignettes, the sad, sordid and sinister aspects of a section of an unnamed French city, and the manners in which the ghostlike human entities that live and wither within it are molded, moved and absorbed by its spaces. A noisy metro station, old tenements, buildings going up, along with the fixtures of French communal life: the open-air market, the public garden; the little shops and bars, the lively town square--the ugly and mundane, the coarse and unmentionable sit side by side with the occasionally burgeoning bit of beauty. With a sense of voyeuristic tension and queasy complicity, the reader is taken on an outcast's tour of city life—from construction site to metro, from bar to brothel—an analysis of communal living in the conditional tense from the perspective of the absolute exile. One of Duvert's last books, it is also one of his shortest: an unexpected return to the roving, fractured eye of the Nouveau Roman that had informed his earliest work.
Translated by S. C. Delaney and Agnès Potier, with an introduction, by S. C. Delaney.
Tony Duvert (1945–2008) earned a reputation as the “enfant terrible” of the generation of French authors known for defining the postwar Nouveau Roman. Expelled from school at the age of 12 for homosexuality (and then put through a psychoanalytic “cure” for his condition), Duvert declared war on family life and societal norms through a controversial series of novels and essays (whose frequent controversial depictions of child sexuality and pedophilia often lead his publisher to sell his works by subscription only). He won the Prix Medicis in 1973 for his novel Strange Landscape. His reputation faded in the 1980s, however, and he withdrew from society. He died in isolation in July 2008 in the commune of Thoré-la-Rochette in central France.
2017, English
Softcover, 64 pages, 11.4 x 17.8 cm
Published by
Wakefield Press / Cambridge
$26.00 - Out of stock
Odd Jobs by Tony Duvert is a series of 23 satirically scabrous short texts that introduce the reader to an imaginary French suburb via the strange, grotesque small-town occupations that defined a once reliable, now presumably vanished way of life. A catalogue of job descriptions that range from the disgusting functions of “The Snot-Remover” and “The Wiper” to the shockingly cruel dramas enacted by “The Skinner” and “The Snowman". Through these narratives somewhere between parody and prose poem, Duvert assaults parenthood, priesthood and neighbourhood in this mock handbook to suburban living; Leave It to Beaver as written by William Burroughs.
Duvert (1945-2008) earned a reputation as the “enfant terrible” of the generation of French authors known for defining the post-war Nouveau Roman. Expelled from school at the age of 12 for homosexuality (and then put through a psychoanalytic “cure” for his condition), Duvert declared war on family life and societal norms through a controversial series of novels and essays (whose frequent controversial depictions of child sexuality and pedophilia often led his publisher to sell his works by subscription only). He won the Prix Medicis in 1973 for his novel Strange Landscape. His reputation faded in the 1980s, however, and he withdrew from society. He died in 2008.
2025, English
Softcover, 455 pages, 24 x 17 cm
Published by
Headpress / Oxford
$65.00 - In stock -
From filmmaker, former Fangoria editor-in-chief, and Corman/Poe author Chris Alexander comes ART! TRASH! TERROR! Adventures in Strange Cinema, a treasure trove of in-depth essays and edifying interviews that celebrate some of the most eccentric and unforgettable movies in cult cinema history. From recognized classics (George A. Romero's Dawn Of The Dead, David Lynch's The Elephant Man) to misunderstood masterpieces (Michael Mann's The Keep, Boris Sagal's The Omega Man) to unfairly maligned curios (Kostas Karagiannis' Land Of The Minotaur, Brett Leonard's Hideaway), the author takes an alternately serious and playful but always personal look at several strains of international horror, dark fantasy, and exploitation film -- motion pictures that transform, transgress, challenge, infuriate, shock, and entertain.
Connecting these passionate and critical essays are insightful interviews with revered talents, such as John Waters (writer/director, Cecil B. Demented), Michael Winner (director, The Sentinel), Nicolas Cage (actor, Vampire's Kiss), Gene Simmons (co-founder/bassist, KISS), William Crain (director, Blacula), William Lustig (director, Maniac), Werner Herzog (director, Nosferatu: Phantom Der Nacht) and many more, as well as witty, heartfelt memoirs charting the author's oddball experiences on the fringes of Hollywood and beyond.
Illustrated with more than 200 startling photographs!
2023, English
Softcover, 148 pages, 21.5 x 13.9 cm
Published by
Dalkey Archive Press / US
$32.00 - In stock -
Originally published in 1968, The Secret Crypt is something of a cult classic in Mexican literature.
Elizondo’s impassioned, breathless prose launches the reader into a labyrinth that is also a hall of mirrors. Here, we find a small group of characters who are part of an underground sect called Urkreis, one of whose aims is to discover the identity of the sect’s founder, known only as “the Imagined.” The identities of narrator, author, and characters blur into one another as the narrative moves between the two worlds of the novel and the author writing the novel—an unclassifiable masterpiece containing initiation rites, sacrificial murder, conspiracy, and delirium.
Salvador Elizondo Alcalde (1932—2006) was a Mexican writer of the 60s Generation of Mexican literature. Regarded as one of the creators of the most influential cult noirè, experimental, intelligent style literature in Latin America, he wrote as a novelist, poet, critic, playwright, and journalist. His most famous novels are Farabeuf (1965) and El hipogeo Secreto (1968). He is also known for El grafógrafo (1972) which is a series of short texts based on linguistic abbreviatory experimentation. Some critics have highlighted his literary works as postmodern literature since it challenges fiction through autofiction, metafiction, metalepsis, and by intertwining possible fictional worlds. His works are associated with writers such as Ezra Pound, James Joyce, Julio Cortázar, Juan Rulfo and Georges Bataille.
Translated to English by Joshua Pollock.
2025, English
Softcover, 80 pages, 17.5 x 115 cm
Published by
Wakefield Press / Cambridge
$30.00 - In stock -
Translated, with an introduction, by W. C. Bamberger
Emil Szittya’s earliest known work of significance, The Hashish Films of Customs Officer Henri Rousseau and Tatyana Joukof Shuffles the Cards, was published in German in Budapest in 1916, yet it portrays the hallucinatory Paris the author had chosen for a temporary home at that time. It is a strange literary work as international and untethered as the author himself had been, a symbolic map of Montparnasse and memory that incorporates the visual world of the painters around him. It is a notational, hashish-infused dream diary in which Szittya plays with childhood legends and gender roles as he restlessly sifts through poverty and the underworld, splicing together and severing apart synesthetic sensations and visions.
Prose poems, for lack of a better word, Szittya’s “hashish films” were almost lost to time but can be recognized as sitting alongside the work of such contemporaries as Blaise Cendrars and Guillaume Apollinaire. They nevertheless read like an anomaly, reflecting the author’s lifelong refusal to ally himself with any literary or artistic movement.
Emil Szittya was the most established pseudonym of the Hungarian-born Adolf Schenk (1886–1964). A vagabond in both his writing and his practice, his life intersected with everyone throughout Europe in the years of high modernism, whether he was setting up a publishing house with Blaise Cendrars in Paris, crossing paths with Lenin and Trotsky in Zürich, seeing the birth of Dada in the Cabaret Voltaire with his friends Hugo Ball and Emmy Hennings, or writing the first books on artists such as Chaïm Soutine and Marc Chagall. Szittya settled in Paris later in life, fighting in the Resistance during the war and working at the café Les Deux Magots before dying of tuberculosis. His many works, in Hungarian, German, and French, include novels, essays, art criticism, and a history of suicide.
2025, English
Hardcover (w. dust jacket), 320 pages, 21.7 x 15.1 cm
Published by
Soft Skull Press / New York
$46.00 - In stock -
From award-winning novelist and cultural critic Lynne Tillman, Thrilled to Death is a collection of selected stories across the career of America's most audacious writer.
Among the vanguard of American literary writers, Lynne Tillman's work has defied categorization throughout her legendary career-a singular body of work that both redefined and reimagined the short story form entirely.
Curated by the author, Thrilled to Death is the definitive entry point for both established fans and new readers alike. These selected stories collect a bold, playful, and eclectic ensemble of Tillman's Borgesian fictions that span decades and traverse themes of sex, death, memory, and anxiety.
With argumentative wit, Tillman's meditations and reflections on art, politics, and culture are animated by deliciously paradoxical characters who desire and fret in turn, and who are imbued with searing intelligence and dolorous ambivalence. Describing Tillman's writing, Colm Tóibín says — "Her style has both tone and undertone; it attempts to register the impossibility of saying very much, but it insists on the right to say a little. So what is essential is the voice itself, its ways of knowing and unknowing."
2025, English
Softcover, 344 pages, 22.86 x 15.24 cm
Published by
Semiotext(e) / Los Angeles
$44.00 - In stock -
A personal and philosophical reflection on the question of old age as a limit concept of Western thought.
A few years ago, Didier Eribon's mother entered a retirement home. Over the course of several months, she lost her physical and cognitive autonomy, and despite his resistance, Eribon and his brothers were compelled to place her in a nursing home. The doctor had warned that she'd rapidly decline. And indeed, refusing the degradation and humiliation of her condition, Eribon's mother died just a few weeks later.
In The Life, Old Age, and Death of a Working-Class Woman, Eribon furthers the archeological, historical, sociological, political, and personal reflection he began with Returning to Reims, this time to look at the question of old age. How does our society treat the elderly, especially the very elderly? What are the daily humiliations the elderly are forced to suffer? What are the conditions at the end of life?
Threaded through an erudite engagement with the works of Simone de Beauvoir, Annie Ernaux, Albert Cohen, Michel Foucault, Norbert Elias, and many others, the question of old age is shown here as a limit concept of Western thought and political philosophy. What is the place of bodies that can no longer assemble, discuss freedom, or protest? How do we hear those who can no longer say “us”? What does it mean not to project into the future? Can the absolutely dependent speak for themselves—and if not, who can speak for them?
Eribon left behind his prejudiced working-class family to become an intellectual. Looking back on his relationship with his mother, he transmutes his rage, sadness, and shame over her death into a portrait of being reunited beyond unbridgeable difference.
Translated by Michael Lucey
Didier Eribon, Professor of Sociology at the University of Amiens, is well known for his groundbreaking biography, Michel Foucault, first published in 1989. He is also the author of Insult and the Making of the Gay Self, as well as numerous other books of critical theory.
2004, English
Softcover, 480 pages, 23.4 x 15.5 cm
Published by
Duke University Press / North Carolina
$62.00 - Out of stock
Published in English for the first time, Didier Eribon' s well-received and celebrated work on a philosophy of and examination of gay life.
A bestseller in France following its publication in 1999, Insult and the Making of the Gay Self is an extraordinary set of reflections on "the gay question" by Didier Eribon, one of France's foremost public intellectuals. Known internationally as the author of a path-breaking biography of Michel Foucault, Eribon is a leading voice in French gay studies. In explorations of gay subjectivity as it is lived now and as it has been expressed in literary history and in the life and work of Foucault, Eribon argues that gay male politics, social life, and culture are transformative responses to an oppressive social order. Bringing together the work of Jean-Paul Sartre, Pierre Bourdieu, Judith Butler, and Erving Goffman, he contends that gay culture and political movements flow from the need to overcome a world of insult in the process of creating gay selves. Eribon describes the emergence of homosexual literature in Britain and France at the turn of the last century and traces this new gay discourse from Oscar Wilde and the literary circles of late-Victorian Oxford to Andre Gide and Marcel Proust.
He asserts that Foucault should be placed in a long line of authors—including Wilde, Gide, and Proust—who from the nineteenth century onward have tried to create spaces in which to resist subjection and reformulate oneself.
Drawing on his unrivaled knowledge of Foucault's oeuvre, Eribon presents a masterful new interpretation of Foucault. He calls attention to a particular passage from Madness and Civilization that has never been translated into English. Written some fifteen years before The History of Sexuality, this passage seems to contradict Foucault's famous idea that homosexuality was a late-nineteenth-century construction. Including an argument for the use of Hannah Arendt's thought in gay rights advocacy, Insult and the Making of the Gay Self is an impassioned call for critical, active engagement with the question of how gay life is shaped both from without and within.
Didier Eribon is a philosopher, historian, and journalist in France, where he writes frequently for the weekly news magazine Le Nouvel Observateur. In addition to his biography Michel Foucault, he is the author of books including Une morale du minoritaire: Variations sur un thème de Jean Genet and Hérésies: Essais sur la théorie de la sexualité.
Michael Lucey is Professor of French and Comparative Literature at the University of California, Berkeley. He is the author of The Misfit of the Family: Balzac and the Social Forms of Sexuality (published by Duke University Press) and Gide’s Bent: Sexuality, Politics, Writing.
1992, English
Softcover, 460 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / good
Published by
Manchester University Press / Manchester
$50.00 - In stock -
First 1992 edition, long out-of-print.
In 1846, Edgar Allen Poe wrote that 'the death of a beautiful woman is, unquestionably, the most poetic topic in the world'. The conjuction of death, art and femininity forms a rich and disturbing strata of Western culture, explored here in fascinating detail by Elisabeth Bronfen. Her examples range from Carmen to Little Nell, from Wuthering Heights to Vertigo, from Snow White to Frankenstein. The text is richly illustrated throughout with thirty-seven paintings and photographs.
The argument that this book presents is that narrative and visual representations of death can be read as symptoms of our culture and because the feminine body is culturally constructed as the superlative site of "other" and "not me", culture uses art to dream the deaths of beautiful women.
'Aside from the originality-or fearful finality -of its arguments, the book will be invaluable as an introduction to the use of psychoanalysis in the interpretation of cultural texts'—New Statesman & Society
'[Death] faces a similar taboo in our century to the one that sex suffered in the last... [Bronfen] addresses an important silence in contemporary culture'—The Times
Elisabeth Bronfen is Professor of English and American Studies at the University of Zurich
Good copy with some creasing (spine, corners).
2001, English
Hardcover (w. dust jacket), 194 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Cambridge University Press / Cambridge
$70.00 - In stock -
First 2001 hardcover edition.
This original and provocative 2001 study discusses the work of a number of authors in the nineteenth and twentieth centuries in order to argue that mainstream society was enabled to accept the non-normative sexuality of the Aesthetic Movement chiefly through parody and self-parody. Highlighting Victorian popular culture, Aestheticism and Sexual Parody adds an important dimension to the theorisations of parody as a combative strategy by which sexually marginalized groups undermine the status quo. From W. S. Gilbert's drama and Vernon Lee and Christopher Isherwood's prose to George du Maurier's cartoons and Max Beerbohm's caricatures, Dennis Denisoff explores the parodies' interactions with the personae and texts of canonical authors such as Alfred Tennyson, Walter Pater, Algernon Swinburne, and Oscar Wilde. In doing so, he considers the impact that these interactions had on modern ideas of gender, sexuality, taste and politics.
Dennis Denisoff is Assistant Professor in the Department of English at Ryerson University, Ontario. He is the author of Erin Mouré: Her Life and Works, the editor of Queeries: An Anthology of Gay Male Prose, and the co-editor of Perennial Decay: On the Aesthetics and Politics of Decadence.
VG copy in VG dust jacket.
2012, English
Softcover, 278 pages, 23.5 x 15.6 cm
Published by
Palgrave Macmillan / UK
$65.00 - In stock -
Mighty Lewd Books describes the emergence of a new, home-grown English pornography as seen in flagellation novellas which burst to the fore in the 1770s. Prior to this, English erotica had included a particular style of bawdy material marked by its euphemisms and double entendres. Through the examination of over 500 pieces of British erotica, this book looks at sex as seen in erotic culture, religion and medicine throughout the long eighteenth-century, and provides a radical new approach to the study of sexuality.
'Long overdue, an assessment of English pornography needs to pay attention to context as well as content. Peakman's book is rich with detail and she presents texts that have long been hidden from view. A must read.' - Margaret C. Jacob, UCLA, USA
'When [Julie Peakman] started out, the topic of erotic writings was a largely uncharted and under-theorized field. To a considerable degree she has had to carve out the boundaries of the topic for herself and work out her own intellectual framework... well-researched, well-documented, well-argued and coherent... makes a substantial contribution to scholarship' - Roy Porter
'It is now generally agreed that the creation of new sexual stereotypes and forms of self-identity in the eighteenth century is central to the creation of 'modernity'. Part of this process was the emergence of new, and newly domesticated, forms of pornography and erotic writing. Mighty Lewd Books gives us a readable, engaging and conprehensive account of the history of eighteenth-century pornography and erotica. By exploring the history of this artefact of sexual behaviour at the moment when modern sexualities were created, Peakman provides a new and important understanding of both the meaning of dirty books, and the origins of modernity.' - Tim Hitchcock
'This...fascinating and intelligent survey shows how an explosion of obscene literature immediately followed the wild success of pioneering (but largely non-pornographic) fictions by Defoe, Swift, Richardson and their imitators...Porn's strongest selling point were that it was sexy, unrespectable and forbidden, of course, but Julie Peakman shows that it had other attributes, not always connected directly with sex. It popularised new scientific ideas in botany, anatomy and electricity. It stoked the fires of anti-Catholicism with its lecherous monks and nuns, and it encompassed radical ideas in politics.' - Financial Times
'Drawing heavily on the contents of what the British Library quaintly terms its Cupboard, better known as the Private Case, plus a vast bibliography of secondary sources, she [Peakman] displays the whole world of Eighteenth-century erotica/porn and offers explications of both practice and theory.' - Erotic Review
'...fascinating book...well-written and researched...this book offers intriguing new insights into a hidden area of gender history, challenging many preconceptions about the c18th century.' - BBC History Magazine
'This is a serious work for those with serious interest in the theme, but given the rollicking nature of that theme, there is reason to smile frequently.' - Rob Hardy, The Dispatch