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
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THU—SAT 12—6 PM
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World Food Books
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PO Box 435
Flinders Lane
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Australia
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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.
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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.
$.00 - Out of stock
The eternal clean out! New items weekly.
https://worldfoodbooks.com/category/sale
Published by World Food Books / Melbourne
$20.00 - In stock -
A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).
Gift vouchers can be purchased in increments of $20 (Australian Dollars) and the total amount can simply be added to by increasing the quantity in your shopping cart. eg. A quantity of 5 gift vouchers will result in an item total of $100 - a $100 gift voucher. Simply click "ADD TO CART" 5 times, or update your quantity in the shopping cart.
If you wish to purchase multiple, separate gift vouchers in one go, please just email us and we can personally prepare and email you a payment request.
Please note: Please select Pick-Up on gift voucher purchse to avoid any postage charges. Accidental postage charges will be refunded right away!
Thank you.
For any questions, please don't hesitate to email: [email protected]
1985, English
Softcover, 304 pages, 23 x 15.2 cm
Published by
University of Minnesota Press / Minnesota
$68.00 - In stock -
Since the publication of Visions of Excess in 1985, there has been an explosion of interest in the work of Georges Bataille. The French surrealist continues to be important for his groundbreaking focus on the visceral, the erotic, and the relation of society to the primeval. This collection of prewar writings remains the volume in which Bataille’s positions are most clearly, forcefully, and obsessively put forward.
This book challenges the notion of a “closed economy” predicated on utility, production, and rational consumption, and develops an alternative theory that takes into account the human tendency to lose, destroy, and waste. This collection is indispensable for an understanding of the future as well as the past of current critical theory.
Edited by Allan Stoekl
Translated by Allan Stoekl, Carl R. Lovitt, and Donald M. Leslie Jr.
Introduction by Allan Stoekl
Georges Bataille (1897-1962), a librarian by profession, was founder of the French review Critique. He is the author of several books, including Story of the Eye, The Accused Share, Erotism, and The Absence of Myth.
Allan Stoekl is professor of French and comparative literature at Pennsylvania State University and author of Agonies of the Intellectual.
1994, English
Softcover, 176 pages, 23 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$45.00 - Out of stock
First English printing from the legendary Atlas Press, London.
"DADA MEANS NOTHING!" So proclaimed Tristan Tzara, the movement's tireless publicist. Yet this did not prevent the most fanatical and talented artists and writers across Europe from rushing to join its ranks. Anti-war, anti-art, anti-dada, from its beginnings in Zurich during the first World War the dadas swept aside the cultural, philosophical and political norms of their time. Utter disgust with a society that had created the war (and then expected to survive the peace) spurred them to ever greater demonstrations of revulsion and derision. Yet it was not all nihilism: many factions worked within the Dada Movement and it was Huelsenbeck's intention to embody most of them in the Dada Almanac. The largest collection of Dadaist texts ever assembled by the movement, it was originally published in 1920 in a mixture of French and German.
The Dada Almanac was truly international in scope, with substantial sections from the Swiss and French sections of the movement, it embodies Dada's failings as well as its successes, its excesses, its seriousness, its idiocy, but above all the anarchic vitality which made it such a vital precondition for so much that followed in the fields of art, literature and general cultural terrorism.
The editors of this first English translation have added dozens of other relevant texts, documents, portraits etc, as well as explaining contemporary references and events and providing biographies of the numerous personalities involved.
Very Good copy, light wear.
1986, English
Hardcover (w. dust jacket), 216 pages, 23.5 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Columbia University Press / New York
$40.00 - In stock -
First hardcover edition of Danto's The Philosophical Disenfranchisement of Art. This acclaimed work, first published in 1986, world-renowned scholar Arthur C. Danto explored the inextricably linked but often misunderstood relationship between art and philosophy. The book's impact—especially the essay "The End of Art," which dramatically announced that art ended in the 1960s, made a profound impression on art theory going forward and continues to be of interest to anyone who thinks seriously about art, as well as to philosophers, aestheticians, and art historians.
Arthur Coleman Danto (1924— 2013) was an American art critic, philosopher, and professor at Columbia University. He was best known for having been a long-time art critic for The Nation and for his work in philosophical aesthetics and philosophy of history, though he contributed significantly to a number of fields, including the philosophy of action. His interests included thought, feeling, philosophy of art, theories of representation, philosophical psychology, Hegel's aesthetics, and the philosophers Friedrich Nietzsche and Jean-Paul Sartre.
NF copy in VG—NF dust jacket protected under mylar wrap.
1985, English
Hardcover (clothbound), 136 pages, 23.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Pendragon Press / New York
$180.00 - In stock -
Very rare first 1985 hardcover English translation of the thesis defence of Romanian-born Greek-French avant-garde composer Iannis Xenakis (1922—2001), tape recorded for a "Doctorat d'État" at the Sorbonne in Spring 1976 before composer Olivier Messiaen, art critic Michel Ragon, philosopher Olivier Revault d'Allonnes, philosopher Michel Serres, and philosopher Bernard Teyssèdre (all dialogues recorded within). Translated to English for the first time by Sharon Kanach.
In this fascinating essay Iannis Xenakis succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their interdependency as in the components of an alloy. A complete list of works and bibliography are included. In this translation Xenakis explains not only his musical and theoretical writings - but also the role of mathematics as a philosophical catalyst in both his musical and architectural works. He discusses in detail his unique use of computers as a graphic tool in the composition of some of his scores. Unexpected aspects of his character are gracefully revealed in these highly readable exposés.
Xenakis is responding to a panel of noted French masters from the various disciplines in which he has worked and cleverly manages to answer specific questions in one field while simultaneously addressing perhaps less-initiated exponents from other, seemingly unrelated areas. He succeeds in unraveling the intricate web between the arts and sciences, thereby demonstrating their inter-dependency as in the components of alloys.
Very Good copy with some very light marks to cloth covers. Please note this is the first 1985 printing, rather than the later 1994 printing, also scarce.
1994, English
Softcover, 632 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
University of California Press / Berkley
$35.00 - In stock -
First 1994 edition.
Long considered "the noblest of the senses," vision has increasingly come under critical scrutiny by a wide range of thinkers who question its dominance in Western culture. These critics of vision, especially prominent in twentieth-century France, have challenged its allegedly superior capacity to provide access to the world. They have also criticized its supposed complicity with political and social oppression through the promulgation of spectacle and surveillance.
Martin Jay turns to this discourse surrounding vision and explores its often contradictory implications in the work of such influential figures as Jean-Paul Sartre, Maurice Merleau-Ponty, Michel Foucault, Jacques Lacan, Louis Althusser, Guy Debord, Luce Irigaray, Emmanuel Levinas, and Jacques Derrida. Jay begins with a discussion of the theory of vision from Plato to Descartes, then considers its role in the French Enlightenment before turning to its status in the culture of modernity. From consideration of French Impressionism to analysis of Georges Bataille and the Surrealists, Roland Barthes's writings on photography, and the film theory of Christian Metz, Jay provides lucid and fair-minded accounts of thinkers and ideas widely known for their difficulty.
His book examines the myriad links between the interrogation of vision and the pervasive antihumanist, antimodernist, and counter-enlightenment tenor of much recent French thought. Refusing, however, to defend the dominant visual order, he calls instead for a plurality of "scopic regimes." Certain to generate controversy and discussion throughout the humanities and social sciences, Downcast Eyes will consolidate Jay's reputation as one of today's premier cultural and intellectual historians.
Martin Jay is Sidney Hellman Ehrman Professor Emeritus of History at the University of California, Berkeley. His books include Force Fields (1992), Marxism and Totality (California, 1984), Adorno (1984), and The Dialectical Imagination (1973).
Good—VG copy with common rippling of laminate separation to gloss boards, light handling wear. Sample image only.
1999, English
Softcover, unpaginated, 18.5 x 18.5 cm
Out of print title / used / very good
Published by
Charta / Milan
$100.00 - Out of stock
The great Propo artist's book by Paul McCarthy, published by Charta in 1999. Comprised entirely of photos of everyday objects, soiled, dirtied and ruined, shot against colourful backdrops that contrast with the mysterious nature of the decontextualized objects. Children's toys, condiment bottles, latex masks, dolls ... these objects are in fact props from McCarthy's legendary performances, and their visual inventory here reads like a book of modernity's detritus. A photo book document of residual sculptural objects of performance. One of his best books, like no other!
Born in Salt Lake City in 1945, Paul McCarthy has lived and worked in the Los Angeles area since 1970. Originally formally trained as a painter, McCarthy's main interest lies in everyday activities and the mess created by them. Much of his work in the late 1960s, such as Mountain Bowling (1969) and Hold an Apple in Your Armpit (1970), are similar to the work of Happenings founder Allan Kaprow, with whom McCarthy had a professional relationship. From 1982 to 2002 he taught performance, video, installation, and performance art history at the University of California, Los Angeles. McCarthy currently works mainly in video and sculpture. His work has been widely exhibited throughout Europe and the U.S. including the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art and The Museum of Modern Art; and the Centre Georges Pompidou, Paris.
Very Good copy with only light wear.
1971, English
Softcover, 342 pages, 23 x 15 cm
1st Edition, Out of print title / used / good
Published by
Pantheon / New York
$30.00 - In stock -
First 1971 US softcover edition of Magic, Supernaturalism and Religion, the classic illustrated study by Swiss-American Surrealist painter, engraver, and occultist Kurt Seligmann (1900—1962).
In this fascinating study the late Kurt Seligmann, the surrealist painter, gives a history of magical ideas and manifestations in the Western world to reveal the aesthetic value of magic and its influence on creative imagination. He brings forth a vivid picture of the religio-magical beliefs of ancient, medieval and modern times. He shows the growth and development of the magical world-view in its successive stages, beginning with Mesopotamian and Persian magic, assimilating Hebrew thought, Greek philosophy and Christian theology, through the mystical concept of a unified universe with its manifold correspondences and interrelations, which finds expression in pictorial motifs and symbols, in the magical arts of astrology, divination, physiognomy, chiromancy, fortune cards and other branches of 'occult science'. Along the way he presents some colourful personalities: Nostradamus, Dr Faustus, Pico della Mirandola, Agrippa, Trimethius, Gebelin, Mesmer, Cagliostro, Saint- Germain and others.
Good copy with some foxing to block edges, age, creasing to cover and spine. Sample image.
1974, English
Softcover, 432 pages, 21.5 x 14 cm
1st Edition, Out of print title / used / good
Published by
Princeton University Press / New York
$45.00 - In stock -
First 1974 edition.
For more than thirty years, Fredric Jameson has been one of the most productive, wide-ranging, and distinctive literary theorists in the United States and the Anglophone world. Marxism and Form provided a pioneering account of the work of the major European Marxist theorists—T. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Lukács, and Jean-Paul Sartre—work that was, at the time, largely neglected in the English-speaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous in.uence. He provided a framework for analyzing the connection between art and the historical circumstances of its making—in particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form.
Jameson’s presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the Anglo-American tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism.
One year after Marxism and Form, Princeton published Jameson’s The Prison-House of Language (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson’s main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation.
Average—Good copy. Some light creasing to covers, softening to extremities, erasable light lead pencil notation. Spine uncreased, binding preserved.
1983 / 1986, English
Softcover, 244 pages, 21.5 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
University of Minnesota Press / Minnesota
$15.00 - In stock -
“This concise and lucid volume offers a satisfying survey of all the major theories, from structuralism in the 1960s to deconstruction today, that have made academic criticism both intriguing and off-putting to the outsider.” —New York Times Book Review
“Literary Theory has the kind of racy readability that one associates more often with English critics who have set their faces resolutely against theory. It’s not just a brilliant polemical essay; it’s also a remarkable feat of condensation, explication, and synthesis.” —Sunday Times (London)
“A concise guide to the most interesting and mystifying trends in the study of literature over the last fifty years.” —The Nation
This classic work covers all of the major movements in literary studies in this century. Noted for its clear, engaging style and unpretentious treatment, Literary Theory has become the introduction of choice for anyone interested in learning about the world of contemporary literary thought.
On the twenty-fifth anniversary of Literary Theory’s debut, Terry Eagleton reflects on the state of theory in academia today, the growth of antitheory (itself an interesting theoretical subject), its common-if problematic-place among survey coursework, and theory’s continued relevance to scholarly pursuits. In this contemporary, retrospective moment, as scholars critically analyze the incredibly broad impact of the theoretical movement, Literary Theory remains an essential initiation to the intellectually stimulating world of theoretical analysis.
Terry Eagleton is John Edward Taylor professor of English literature at the University of Manchester. His numerous books include The Meaning of Life, How to Read a Poem, and After Theory.
VG copy (spine slightly cocked). First 1983 ed. 1986 printing.
1997, English
Hardcover (w. dust jacket), 224 pages, 21.6 x 16 cm
1st Edition, Out of print title / used / fine
Published by
Princeton University Press / New York
$35.00 - Out of stock
Edited by Gennady Barabtarlo
Commentaries by Gennady Barabtarlo
Nabokov's dream diary—published for the first time.
On October 14, 1964, Vladimir Nabokov, a lifelong insomniac, began a curious experiment. Over the next eighty days, immediately upon waking, he wrote down his dreams, following the instructions in An Experiment with Time by British philosopher John Dunne. The purpose was to test the theory that time may go in reverse, so that a later event may generate an earlier dream. The result—published here for the first time—is a fascinating diary in which Nabokov recorded sixty-four dreams (and subsequent daytime episodes) on 118 index cards, providing a rare glimpse of the artist at his most private. Insomniac Dreams presents the text of Nabokov’s dream experiment, illustrated with a selection of his original index cards, and provides rich annotations and analysis that put them in the context of his life and writings.
Vladimir Nabokov was born in St. Petersburg, Russia, in 1899. After studying French and Russian literature at Trinity College, Cambridge, he launched his literary career in Berlin and Paris, writing innovative fiction, verse, and drama in his native Russian. In 1940 he moved to America, where he wrote some of his greatest works, including Lolita (1955), Pnin (1957), and Pale Fire (1962). He died in Switzerland in 1977. Gennady Barabtarlo (19492019) was professor of literature at the University of Missouri and the author of a number of books on Nabokov. Barabtarlo also translated into Russian three of Nabokov's novels and all of his English-language short stories.
Fine copy in NF dust jacket. First 1997 hardcover edition.
1986, English
Softcover, 100 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$45.00 - In stock -
Scarce first 1986 paperback edition of Pierre Albert-Birot's The First Book of Grabinoulor (1919), published by the legendary Atlas Press, translated with a preface by Barbara Wright. Postface by Arlette Albert-Birot.
Pierre Albert-Birot was one of the seminal figures of the modern movement in France. As editor of (one of) the earliest avant-garde reviews SIC, he published most of the futurists, the (future) Dadaists and Surrealists, and many others—and Grabinoulor made his first appearance in its pages.
Like his creator, Grabinoulor was only rediscovered in the last few decades. The book was perhaps neglected because its astonishing formal inventiveness is overwhelmed by an entirely joyous and undespairing outlook which was at total variance with the other literature of the time (1919).
"Grabinoulor is the happiest man in the world;" he is also very Parisian, all-powerful, childlike, satiric, eternally optimistic; his picaresque adventures happen to him in all times and in all places, he is rather forgetful...
Barbara Wright has triumphantly overcome the problems of translating a remarkable work that has been praised by authors as different as Apollinaire, Celine, Jacob, Queneau, and Sollers.
"To the reader willing to admit the existence of joy, Grabinoulor and his life and opinions are pure delight."—Times Literary Supplement
"Grabinoulor has no personal characteristics except an imperturbable appetite for all kinds of pleasure, and a mind rarely paralleled for energy and inventiveness. He is everyone and no one... Anyone who loves Tristram Shandy will love Grabi."—Sunday Times
"It has been called a masterpiece, as if a work could qualify as such when it's only just been born. A work isn't born a masterpiece, it becomes one. And yet it's saying a lot of a book to call it at the same time: Gay, living, contemporary (I don't like the word modern), intelligent, fantastic, poetic, realistic, daring, more than daring, psychological, synthetic, symbolic, simple, classic, universal, surprising, bizarre, banal, larger than life, true to life and even true to experience, attractive, odious, pessimistic, optimistic, serious, humorous and even more than humorous."—Max Jacob in Les Nouvelles litteraires
"Joyously erotic... The irrepressible Grabinoulor performs his fantastic epic feats in an onrush of perpetual motion, which this slim book presents in rivers of unpunctuated prose... Albert-Birot celebrated the erotic as a means of freeing the artistic imagination from bourgeois constraints. For him, sexuality represented poetic creation. His tricks of language, his leaps through time and space are in the tradition of Rabelais and Shandy. The ribaldry does not shock not as it once perhaps did, but Grabinoulor is still fun to read. The book is a valuable document in the development of Dada and surrealism."—Publishers Weekly 1/23/87
"Ingenious imagination.... This fine translation of the Grabinoulor saga deserves reading as a genuine sample of the modernism that its author nurtured in SIC, and that cleared the path for the likes of Cocteau, Breton, and Ionesco."—Choice Jul-Aug '87
Very Good copy.
1995, English
Softcover, 304 pages, 23 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$65.00 - Out of stock
Long out-of-print Atlas Arkhive 2 published by the legendary Atlas Press in 1995. This anthology is the largest ever selection from the Decadent and Symbolist writers of the French fin-de-siècle — a period whose social and spiritual ills had so much in common with those of today.
The selection is based on a series of essays on contemporary writers published as The Book of Masks by the foremost critic and author of the period: Remy de Gourmont. (The "masks" are remarkable portrait drawings by Félix Vallotton.) De Gourmont's essays brilliantly evoke the pre-occupations of each author, their genius and shortcomings, while simultaneously describing, and contributing to, the literary theories of the movement. His introduction provides one of the most important overviews of Symbolism and describes its gradual subsidence into its "dark side": decadence. De Gourmont's book consisted solely of essays, but the editor of this anthology has added characteristic texts from each writer to accompany them. Nearly fifty are included, ranging from the extraordinary obscure and unjustly forgotten to the literary giants of the day. Here are works by Gide, Mallarme and Verlaine which have never before appeared in English.
Symbolism was a strange amalgam of the social turmoil of its times; its authors veer between an aesthetics based on simplicity and asceticism and the decadent debauches forever associated with Huysmans and Wilde. Their political associations were equally split, between Catholic piety and right-wing nationalism, and anarchist individualism taken to the point of bomb-throwing. What united these disparate writers was a desire to escape the confines of realism. They produced a fierce literature based on a renewed use of language, finely tuned, often astonishingly lush, which examines that mysterious region of the spirit that lies between inner and outer life. This collection should necessitate a complete re-evaluation of a school of writing that endured for several decades.
Good—Very Good copy with some wear to extremities small bump to bottom of spine, creasing to boards.
1970, English
Softcover, 318 pages, 19.5 x 11.5 cm
Out of print title / used / good
Published by
Paladin / London
$25.00 - In stock -
1970 edition of this "brilliant inquiry into the psychology of artistic creativity ranges across the arts of cavemen and children, the music of Mozart and John Cage, the painting of Michelangelo and Robert Rauschenberg. It examines the role of the unconscious critical processes in the formal organisation of a work of art, and traces a central theme, that of the 'dying god', the psychological core of our greatest literature, painting and music."
"This is one of the most intelligent books ever written about the psychology of artistic creativity, and it is as relevent to the present situation of psychology as it is to the present situation of art... I know of no other book which so much conduces to a reasoned optimism about the future of art and, indirectly, about the future of human affairs."—John Russell SUNDAY TIMES
"... the fruits of a lifetime's rigorous thought and research... an important book, likely to have a permanent place alongside the work of E. H. Gombrich... outstanding virtues as a pioneer in the theory and understanding of art."—Anthony Curtis SUNDAY TELEGRAPH
G—VG copy, general wear and toning.
1970/1971, French
Softcover, 2 volumes, unpaginated, 28.5 x 19 cm
1st Edition, Out of print title / used / very good
Published by
Marie Concorde / Paris
$320.00 - In stock -
Both of the only volumes ever produced of this wonderful French avant-garde journal, published in Paris at the beginning of the 1970s. A visual manifesto against the prudishness of the times, KITSCH presented hundreds of illustrations of mostly erotic, fetish and fantastic/grotesque artwork by artists from all over the world, and spanning generations, with both issues wrapped in the most striking Tom Wesselmann covers. KITSCH 1 includes Toshio Saeki, Guido Crepax, Richard Linder, Robert Crumb, Guy Bourdin, Petr Herel, Hannes Jahn, Roman Cieślewicz, Ben Vautier, Christian Bour, Jacques Sternberg, Roland Topor, Jim, Allen Jones, Thomas Weir, alongside photo essays on upskirt polaroids, Satanik, Diabolik, fashion and more. KITSCH 2 includes Aslan, Roy Lichtenstein, Virgil Finlay, Jim Osborne, Ronald Lipking, Greg Irons, George Grosz, Egon Schiele, Mel Ramos, alongside photo essays on subjects such as "Pop Art", "Human Concern" and Paris' "Pigalle" district, further featuring work by H.C.Westermann, Paul Thek, Edward Keinholz, William Tunberg, Christian Schad, William Weegee, James Rosenquist, Frank Gallo, Tom Wesselmann, and many more.
Very good copies both, light wear.
1994, English
Softcover, 404 pages, 23 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
John Hopkins University Press / Baltimore
$30.00 - In stock -
Featuring "Shibboleth for Paul Celan" by Jacques Derrida
The crucial role of Paul Celan in postwar literature is widely recognized among European scholars, but has been addressed only scarcely in the Anglo-American academy. In Word Traces Aris Fioretos attempts to redress that imbalance, bringing together thirteen expert readers in the most extensive English-language critical collection on Celan yet published.
The volume begins with the first complete English translation of Jacques Derrida's book-length essay, "Shibboleth for Paul Celan." Chapters by Otto Pöggeler, Dennis J. Schmidt, and Philippe Lacoue-Labarthe then explore the relationship of poetry and philosophy in Celan's work.
Christopher Fynsk, Joel Golb, and Werner Hamacher discuss the interrelation of poetry and poetics, and Anders Olsson, Hans-Jost Frey, and volume editor Fioretos examine the peculiarly "written" character of Celan's poetry. In the book's final section, chapters by Hans-Jost Frey, Thomas Pepper, and Leonard Olschner treat the implications of Celan's practice of translation.
"Despite a growing interest in Celan over the past twenty years, there is no collection in English which comes close to the extended critical presentation assembled here. Word Traces will be a standard text on Celan—the variety of the essays is wide and will appeal to specialists in philosophy, German studies, modern poetry, comparative literature, and literary theory. This is an impressive collection of texts written by philosophers and critics whose concerns show the pertinence and breadth of Celan's writings for contemporary thought."—Steven Ungar, University of lowa
Aris Fioretos is a Mellon Scholar in the Department of German at the Johns Hopkins University. He is author of Det kritiska ögonblicket: Hölderlin, Benjamin, Celan, editor of a forthcoming volume of essays, The Solid Letter: New Readings of Hölderlin, and translator of the Swedish edition of Jacques Derrida's Schibboleth pour Paul Celan.
Very Good copy.
1972, Japanese / English
Softcover (w. french folds and fold-out spreads), 160 pages, 22.8 x 29.8 cm
1st Edition, Out of print title / used / very good
Published by
Ad Angen / Japan
$100.00 - In stock -
First 1972 edition of this erotic anthology from three important and provocative Japanese photographers from the time they were creating their most inspired work. Tatsuki is famous for his books Eves, Private (Mariko Kaga) and Girl (from the famous Chuo Koronsha series). Kanoh is famous for his books Shunga and the banned Fuck. Ichimura is famous for Salome and Come Up. All of these seminal works in Japanese photography were published in 1970 or 1971, as was this book, a collection that includes moments from some of the aforementioned works. The title indicates the uniting theme of the book - couples (and groups) in erotic scenes. Experts of the nude, the invited photographers here express Ukiyo-e's spring paintings through their own photographic visions of sexuality. Saturated and hypnotic, these psychedelic and dreamlike collections are joyous and occasionally confronting, surrealistic and occasionally grotesque, all vividly reproduced throughout with many gate-fold spreads. A great book.
Very Good copy.
1995, Japanese
Softcover (w. dust jacket), 150 pages, 27 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Shogakukan / Tokyo
$70.00 - In stock -
Beautiful Japanese photobook by famed Japanese photographer Kishin Shinoyama, published in 1995. This entire photographic collection is dedicated to Shinoyama's photographs of his friend, Japanese actress and model Aki Mizusawa (1954-) spanning 1975‐1995.
“It is extremely rare for a photographer to be able to shoot a single subject; one woman continuously for twenty years. Now, seeing all those images - as fleeting and instantaneous then as the magazines that carried them - revived and bound together gives that particular history a closure that weighs like marble. This book captures the twenty year photogenic evolution of a wonderful friend and subject, Aki Mizusawa."—Kishin Shinoyama
Kishin Shinoyama was born in 1940, in Tokyo, Japan. He embarked on his career while studying in the Department of Photography at Nippon University, and was awarded the Advertising Photographer’s Association prize, among others. After being employed at the Light Publicity advertising company, he started to work as a freelance photographer in 1968. His work is acclaimed for the portraits of the most famous celebrities of our day and age, such as John Lennon and Yoko Ono, Rie Miyazawa, and other major personalities. In his “Gekisha” and “Shinorama” series, he carries on capturing the times using new forms of expression and new technologies. He is also an exponent of solarization and has used it to challenge preconceived ideas of beauty and the nude.
Very Good copy in original dust jacket.
1973, English
Softcover, 140 pages, 20 x 13 cm
1st Edition, Out of print title / used / good
Published by
Penguin Books / London
$25.00 - In stock -
Collection of Osip Mandelstam's poems translated to English by Clarence Brown and W. S. Merwin and published in 1974.
Osip Mandelstam (1891–1938) ranks among the most significant Russian and Soviet poets of the 20th century. He was born in Warsaw, Poland in or around 1891, but soon afterward his family moved to St. Petersburg, Russia. Mandelstam first published his poems in Apollyon, an avant-garde magazine, in 1910, then banded together with Anna Akhmatova and Nicholas Gumilev to form the Acmeist group, which advocated an aesthetic of exact description and chiseled form, as suggested by the title of Mandelstam’s first book, Stone (1913). During the Russian Revolution, Mandelstam left Leningrad for the Crimea and Georgia, and he settled in Moscow in 1922, where his second collection of poems, Tristia, appeared. Unpopular with the Soviet authorities, Mandelstam found it increasingly difficult to publish his poetry, though an edition of collected poems did come out in 1928. In 1934, after reading an epigram denouncing Stalin to friends, Mandelstam was arrested and sent into exile. He wrote furiously during these years, and his wife, Nadezhda, memorized his work in case his notebooks were destroyed or lost. (Nadezhda Mandelstam’s extraordinary memoirs of life with her husband, Hope Against Hope and Hope Abandoned, published in the 1970s, later helped to bring Mandelstam a worldwide audience.)
Good—VG copy light general wear and toned pages.
1974 / 2025, English
Softcover, 28 pages, 24.4 x 18.2 cm
Published by
Hacienda Books / Zürich
Walther König / Köln
$48.00 - In stock -
Three subtle stories, told in 200 drawings across 28 pages.
Drei Geschichten was created between January and May 1973 in Zurich and Carona and was published in 1974 in an edition of 500 copies by Galerie Stähli in Lucerne. In 2014, Drei Geschichten was published - revised as a Comix - in the collection Nine Books 1973-1979, initiated by David Weiss (1946-2012), by Edition Patrick Frey. This new edition was published in summer 2025 on the occasion of the exhibition David Weiss Il sogno di Casa Aprile – Carona 1968-1978 at MASI in Lugano.
1974 / 2025, English
Softcover, 80 pages, 18.2 x 11.7 cm
Published by
Hacienda Books / Zürich
Walther König / Köln
$48.00 - In stock -
"Imagine: a small, white booklet with around 150 ink drawings and no text other than the title on the front: «up and down town» by David Weiss, written on a cover page that is, quite literally, rain-soaked. But it gets even worse. In all of the drawings, it keeps raining – constantly, heavily, pouring, drenching, streaming down – and it never stops. The wet asphalt glistens, neon signs reflect in reverse on car roofs, a tram splashes water from the tracks onto the hunched figures beneath umbrellas. But if you look more closely at this ever-changing urban setting, strange characters begin to flicker into view. A booklet to return to again and again, always discovering new details, events, constellations. And what's more, it is absolutely brilliantly drawn."—Bice Curiger, “Tages-Anzeiger”, Zürich (November 14, 1975)
up and down town was was first published in 1974 in an edition of 1000 copies by Edition Galerie Stähli in Zürich. In 2014, up and down town was published – as Regenbüchlein – in the collection Nine Books 1973-1979 initiated by David Weiss (1946-2012), by Edition Patrick Frey. This new edition was published in summer 2025 on the occasion of the exhibition David Weiss Il sogno di Casa Aprile – Carona 1968-1978 at MASI in Lugano.
1999, English
Hardcover (w. dust jacket), 336 pages, 24 x 16 cnm
1st Edition, Out of print title / used / very good
Published by
Doubleday Anchor / US
$15.00 - In stock -
First 1999 hardcover edition.
"Is the Internet the closest thing to heaven on earth? In our day and age cyberspace may seem an unlikely gateway for the soul. But as science commentator Margaret Wertheim argues in this bold new book, cyberspace has more and more become a repository for immense spiritual yearning. Wertheim explores the underpinnings of this mapping of spiritual desire onto digitized space and suggests that the modem today has become a metaphysical escape-hatch from a materialism that many people find increasingly unsatisfying. Proof that we are more than just the atoms of our bodies, cyberspace opens up a collective space beyond the laws of physics-a space where mind rather than matter reigns. And this strange refuge returns us to an almost medieval dualism, with a physical space of body and an immaterial space of mind and psyche. In a remarkable journey through the history of space, Wertheim traces the combined story of physical space and spiritual space from the Middle Ages to the present, and she shows how reality has come to be defined as the exclusive domain of the physical world. It is against this profoundly materialist world picture that Wertheim, with impeccable scholarship, persuades us of the appeal and the ultimate failure of cyberspace to satisfy spiritual needs."
VG copy in VG dust jacket.
1987, English
Softcover, 246 pages, 17.5 x 10.5 cm
Out of print title / used / very good
Published by
Ace Books / New York
$20.00 - Out of stock
1987 Ace paperback edition. Nominated for both the Hugo and Nebula Awards, Count Zero is a science fiction novel by American-Canadian writer William Gibson, originally published in 1986. It is the second volume of the groundbreaking cyberpunk Sprawl trilogy, which begins with Neuromancer and concludes with Mona Lisa Overdrive.
They set a Slamhound on Turner's trail in New Delhi, slotted it to his pheromones and the colour of his hair.
When the Maas Biolabs and Hosaka zaibatsus fight it out for world domination, computer cowboys like Turner and Count Zero are just foot soldiers in the great game: useful but ultimately expendable.
When Turner wakes up in Mexico - in a new body with a beautiful woman beside him - his corporate masters let him recuperate for a while, then reactivate his memory for a mission even more dangerous than the one that nearly killed him: the head designer from Maas Biolabs says he wants to defect to Hosaka, and it's Turner's job to deliver him safely.
Count Zero is a rustbelt data-hustler totally unprepared for what comes his way when the designer's defection triggers war in cyberspace. With voodoo gods in the Net and angels in the software, he can only hope that the megacorps and the super-rich have their virtual hands too full to notice the amateur hacker with the black market kit trying desperately to stay alive . . .
William Gibson (b. 1948) began writing in 1977 and burst upon the literary world with his acclaimed first novel, Neuromancer, the book that launched the cyberpunk generation, and the first novel to win the holy trinity of science fiction, the Hugo, Nebula and Philip K. Dick Awards. Although best known for his early cyberpunk novels, Gibson's work has continued to evolve over the ensuing years, always casting an astute critical eye on modern societal trends.
Very Good copy. Scarcer first Ace ed.