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, Sat 12–5
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.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"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]
2014, English
Softcover, 536 pages, 11.5 x 17.5 cm
Published by
Merve Verlag / Berlin
Urbanomic / Cornwall
$66.00 - In stock -
Accelerationism is the name of a contemporary political heresy: the insistence that the only radical political response to capitalism is not to protest, disrupt, critique, or détourne it, but to accelerate and exacerbate its uprooting, alienating, decoding, abstractive tendencies.
The term was coined to designate a certain nihilistic alignment of theory with the excess and abandon of capitalist culture, and the associated performative aesthetic of texts that seek to become immanent to the very process of alienation. Developing at the dawn of contemporary neoliberal consensus, the uneasy status of this impulse, between subversion and acquiescence, between theoretical purchase and aesthetic enjoyment, constitutes the core problematic of accelerationism.
Since the 2013 publication of Williams's and Srnicek's #Accelerate: Manifesto for an Accelerationist Politics, the term has been adopted to name a set of new theoretical enterprises that aim to conceptualise non-capitalist futures outside of traditional marxist critiques and regressive, decelerative or restorative solutions.
#Accelerate presents a genealogy of accelerationism, tracking the impulse through 90s UK darkside cyberculture and the theory-fictions of Nick Land, Sadie Plant, Iain Grant, and anonymous units like CCRU and SWITCH, across the cultural underground of the 80s (rave, acid house, Terminator and Bladerunner) and back to its sources in delirious post-68 ferment, in texts whose searing nihilistic jouissance would later be disavowed by their authors and the marxist and academic establishment alike.
On either side of this largely unexplored central sequence, the book includes texts by Marx that call attention to his own 'Prometheanism' and key works from recent years document the recent extraordinary emergence of new accelerationisms steeled against the onslaughts of neoliberal capitalist realism, and retooled for the twenty-first century.
At the forefront of the energetic contemporary debate around this disputed, problematic term, #ACCELERATE activates a historical conversation about futurality, technology, politics, enjoyment and Kapital. This is a legacy shot through with contradictions, yet urgently galvanized today by the poverty of 'reasonable' contemporary political alternatives.
Contents
ANTICIPATIONS
Karl Marx - Fragment on Machines
Samuel Butler - The Book of The Machines
Nikolai Fyodorov - The Common Task
Thorstein Veblen - The Machine Process and the Natural Decay of the Business Enterprise
FERMENT
Shulamith Firestone - On the Two Modes of Cultural History
Jacques Camatte - Decline of the Capitalist Mode of Production or Decline of Humanity?
Gilles Deleuze + Félix Guattari - The Civilized Capitalist Machine
Jean-François Lyotard - Energumen Capitalism
Gilles Lipovetsky - Power of Repetition
JG Ballard - Fictions of All Kinds
CYBERCULTURE
Nick Land - Circuitries
Nick Land + Sadie Plant - Cyberpositive
Iain Hamilton Grant - LA 2019: Demopathy and Xenogenesis
CCRU - Cybernetic Culture
CCRU - Swarmachines
ACCELERATION
Mark Fisher - Terminator vs Avatar
Nick Srnicek and Alex Williams - #Accelerate: Manifesto for an Accelerationist Politics
Antonio Negri - Reflections on the Manifesto
Tiziana Terranova - Red Stack Attack!
Luciana Parisi - Automated Architecture
Patricia Reed - Seven Prescriptions for Accelerationism
Reza Negarestani - The Labour of the Inhuman (Extended Mix)
Benedict Singleton - Maximum Jailbreak (Extended Mix)
Ray Brassier - Prometheanism and its Critics
Nick Land - Teloplexy: Notes on Acceleration
Diann Bauer - 4xAccelerationisms
2026, English
Softcover, 189 pages. 19.6 x 13.1 cm
Published by
Peninsula Press / UK
$35.00 - In stock -
'The Waterfront Journals' is a road trip through the sensuous, perilous landscape of alternative America – a series of fictional monologues that ventriloquise the real people Wojnarowicz met on his travels while he was sleeping rough. We meet these hustlers, runaways and dreamers in unassuming locations – in truck stops, bus stations and parks. Their stories are disturbing, often shocking; but they're told with an honesty and a hallucinatory intensity that demands to be heard. Published for the first time in the UK, this electrifying collection confirms that David Wojnarowicz was not only one of millennial America’s most necessary and visionary artists, but also among its most humane and urgent literary chroniclers.
David Wojnarowicz was a writer, artist, AIDS activist and anticensorship advocate. He wrote five books, and his paintings are exhibited in MoMA and the Whitney Museum of American Art. He died from AIDS in 1992.
A visceral and carnivalesque mosaic of life at the fringes.A totally crucial book by one of the 20th century’s greatest artists and writers.' – Maggie Nelson
2026, English
Softcover, 266 pages, 19.7 x 13 cm
Published by
Silver Press / London
$40.00 - In stock -
Translated by Sophie Lewis
Foreword by Jamieson Webster
A woman replays her abandonment by her mother, who is sometimes addressed as a male mother-god. She is also abandoned by her lover, to whom she is in thrall. She tries repeatedly to make or receive phone calls with the beloved figures, without success. She waits for their letters and imagines their contents. In a dream-like, torrid sequence, suffering, fear, fatigue and imperfection are apostrophised. Forgetting is examined and toyed with from every angle. Mythical hybrid creatures are invoked: a snake-headed lion, wolf-snakes, a wolf-peacock. How did this come to be? In a cunningly, wittily wrought rush, the unique, unpredictable voice of the narrator speaks from multiple perspectives to express powerful anguish and, ultimately, catharsis.
First published in French in 1977.
‘Cixous reminds us that women have long spoken from a wound… To be is already to be abandoned, already to have lost, and still to love. To read Cixous is to tarry with this open wound, to hear how writing becomes testimony to its own possibility.’–Jamieson Webster
‘Language in Cixous’s hands is molten, constantly opening onto fresh possibilities.’–Maggie Nelson
‘With Hélène Cixous you must close your eyes and open your mouth. Wider. So open your throat opens. Your esophagus. Your lungs. Wider. So open your spine unclatters. Your hips swim loose. Your womb worlds itself. Wider. Open the well of your sex. Now speak your body from your other mouth. Yell corporeal prayer. This is writing.’–Lidia Yuknavitch
Hélène Cixous is one of the most important feminist voices of the 20th and 21st centuries.
2026, English
Softcover, 258 pages, 19 x 12 cm
Published by
Index Press / Melbourne
$40.00 - In stock -
Described as “the most important British philosopher” of our time, Nick Land is an enigmatic figure shrouded in controversy, rumour, and myth. Too heretical for the academic establishment, Land has had a meteoric impact on contemporary philosophy, politics, and culture. His striking insights and singular prose have left their mark on leading philosophers such as Mark Fisher and Ray Brassier, inspired artists like Kode9 and Jake and Dinos Chapman, and even shaped the mindset of Silicon Valley kingmakers like Marc Andreessen. His prophetic thought has helped give rise to major philosophical and cultural movements, from speculative realism and cyberfeminism to accelerationism and neoreaction.
Unknown Lands is the essential introduction to Land’s radical and often cryptic philosophy, providing a comprehensive decoding of his labyrinthine writings. The book takes us through his earliest inventive readings of Schopenhauer, Nietzsche, Freud, and Bataille, which he wields to critique the likes of Kant, Heidegger, and Derrida for repressing the brute fact of our mortality. It goes right up to his seminal remixing of Deleuze and Guattari, cybernetics, and cyberpunk in his account of capitalism’s race towards human extinction at the advent of the technological singularity.
Making sense of ideas that have long circulated in cult obscurity, Unknown Lands presents perhaps the most apocalyptically nihilistic and yet powerfully ecstatic vision of the world. It is unlikely to leave readers’ preconceptions—or sanity—fully intact.
“Few people can write about Nick Land in a way that doesn’t betray the principles of Land’s own thought. Vincent Lê is one of them. Unknown Lands refuses the sterility, distance, and moral condescension of academic writing on Land while maintaining a depth of philosophical engagement that is depressingly absent in the thriving industry of online commentaries.”—Amy Ireland, co-author of Cute Accelerationism and The Xenofeminist Manifesto
“A superbly lucid, philosophically grounded study that will be of value to both students and advanced researchers, presenting Nick Land as among the most rigorous and relentlessly corrosive thinkers of the posthuman. When other continental thinkers imagined they were challenging ‘humanism’ with their anthropotechnics and all-too-human cyborgs, Vincent Lê shows that Land was the one who first called it for the radically inhuman trajectory of our technological condition.”—David Roden, author of Posthuman Life, Xenoerotics, and Snuff Memories
“Vincent Lê has pulled off the almost impossible. He has produced an unheretical account of the most ‘heretical’ philosopher since Nietzsche. What he says here—and what you will read—is calm, measured, and assured. It tells us where the Nick Land of today came from. If anyone is going to judge Land and speak either for or against him, they need to read this book first.”—Rex Butler, author of Deleuze and Guattari’s “What is Philosophy?”: A Reader’s Guide, Slavoj Žižek: Live Theory, and Jean Baudrillard: The Defence of the Real
Design by Alexandra Margetic
2026, English
Softcover, 190 pages, 20 x 12 cm
Published by
Index Press / Melbourne
$30.00 - In stock -
For some, Nietzsche is the prophet of hierarchy and heroism, a rallying cry against the modern herd. For others, he is the forefather of AI-driven transcendence, an oracle of posthuman futures. His thought has been twisted, worshipped, and weaponised across generations—from avant-garde artists to political extremists, from revolutionary philosophers to Silicon Valley disruptors.
In this book of essays, leading scholars dive into Nietzsche’s early vision, following the tangled, often contradictory paths of his influence: the poets he scorned, the radicals who claimed him, the scholars who tried (and failed) to pin him down. From Australian modernism to French poststructuralism, from political battlegrounds to the shifting tensions between art and philosophy, this book captures Nietzsche’s restless afterlife—revealing how, more than 150 years after the publication of his first book, The Birth of Tragedy Out of the Spirit of Music, Nietzsche’s thought still provokes, unsettles, and refuses to be tamed.
2025, English
Hardcover, 656 pages, 22.5 x 15 cm
Published by
Zero Books / UK
$70.00 - In stock -
Eugene Thacker's three cult-classic volumes of supernatural horror come together in this new Zer0 Books omnibus, revised with updated material, offering an essential resource for thinking about the unthinkable world.
Zer0 Books presents a new, omnibus edition of a cult classic: all three volumes of Eugene Thacker's Horror of Philosophy trilogy, revised and expanded by the author. Across the three volumes of the series—In the Dust of this Planet (Zero Books, 2011), Starry Speculative Corpse (Zero Books, 2015), and Tentacles Longer than Night (Zero Books, 2015)—Thacker adopts a unique approach, reading works of horror as if they were philosophy, and works of philosophy as if they were horror, leading to far-reaching questions: Could it be that the more we know about the world, the less we understand it? Could it be that, while everything has been explained, nothing has meaning? At the center of Thacker's project is the idea of the 'world without us,' an increasingly unthinkable world of planetary disasters, emerging pandemics, and the looming threat of extinction. To confront this idea is to confront the limit of our ability to understand the world in which we live - not a philosophy of horror, but a horror of philosophy.
1904 / 2016, English
Hardcover (w. dust jacket), 112 pages, 23 x 15.25 cm
Published by
Mockingbird Press / US
$44.00 - In stock -
This edition is a fully illustrated reprint of the 1904 publication by Aleister Crowley and Samuel Liddell MacGregor Mathers. This edition of The Lesser Key of Solomon the King contains all of the over 150 seals, sigils, and charts of the original lesser book of Solomon. Beware of other editions that do not contain the Lesser Key of Solomon seals; they were painstakingly researched by Mathers and Crowley, and Solomon’s lesser key is enhanced by their inclusion. This edition also contains Crowley’s original comments located in over 35 annotations to help the reader understand the lesser keys of Solomon the king.
In this work, Crowley and Mathers assemble descriptions and directions for the invocation of over 72 demons or spirits. Included are: illustrations of Solomon’s Magic Circle & Triangle, Enochian translations of the Goetia book, step by step guides for invocation, as well as definitions and explanations for the ancient terms seen throughout the Lesser Key of Solomon book.
The Lesser Key of Solomon, or the Clavicula Salomonis Regis, or Lemegeton, is a compilation of materials and writings from ancient sources making up a text book of magic or “grimoire.” Portions of this book can be traced back to the mid-16th to 17th centuries, when occult researchers such as Cornelius Agrippa and Johannes Trithemisus assembled what they discovered during their investigations into their own great works.
As a modern grimoire, the Lesser Key of Solomon has seen several editions with various authors and editors taking liberty to edit and translate the ancient writings and source material. In 1898, Arthur Edward Waite published his The Book of Black Magic and of Pacts, which contained large portions of the Lemegeton. He was followed by Mathers and Crowley in 1904 who published The Goetia: The Lesser Key of Solomon. Many others have assembled their own version of this ancient material since, and it is important to realize that it is the contents rather than the book itself that make up the Lesser Key. Traditionally, the source material is divided into five books: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, and Ars Notoria. Mathers and Crowley indicate their edition is a translation only of the first book: Goetia.
In the preface to this edition, it is explained that a “Secret Chief” of the Rosicrucian Order directed the completion of the book. The original editor was a G. H. Fra. D.D.C.F. who translated ancient texts from French, Hebrew, and Latin, but was unable to complete his labors because of the martial assaults of the Four Great Princes. Crowley was then asked to step in and finish what the previous author had begun. Traditionally, S. L. MacGregor Mathers is credited as the translator of this edition, and Crowley is given the title of editor. Although impossible to verify, it is often claimed that Mathers did not want to publish this work, but Crowley did so anyway without his permission.
Aleister Crowley was an English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Born to a wealthy Plymouth Brethren family in Royal Leamington Spa, Warwickshire, Crowley rejected this fundamentalist Christian faith to pursue an interest in Western esotericism. He was educated at the University of Cambridge, where he focused his attentions on mountaineering and poetry, resulting in several publications. In 1898 he joined the esoteric Hermetic Order of the Golden Dawn, where he was trained in ceremonial magic by Samuel Liddell MacGregor Mathers and Allan Bennett. Moving to Boleskine House by Loch Ness in Scotland, he went mountaineering in Mexico with Oscar Eckenstein, before studying Hindu and Buddhist practices in India. He married Rose Edith Kelly and in 1904 they honeymooned in Cairo, Egypt, where Crowley claimed to have been contacted by a supernatural entity named Aiwass, who provided him with The Book of the Law, a sacred text that served as the basis for Thelema. Announcing the start of the Æon of Horus, The Book declared that its followers should adhere to the code of "Do what thou wilt" and seek to align themselves with their Will through the practice of magick. After an unsuccessful attempt to climb Kanchenjunga and a visit to India and China, Crowley returned to Britain, where he attracted attention as a prolific author of poetry, novels, and occult literature. In 1907, he and George Cecil Jones co-founded a Thelemite order, the A∴A∴, through which they propagated the religion. After spending time in Algeria, in 1912 he was initiated into another esoteric order, the German-based Ordo Templi Orientis (O.T.O.), rising to become the leader of its British branch, which he reformulated in accordance with his Thelemite beliefs. In 1920 he established the Abbey of Thelema, a religious commune in Cefalù, Sicily where he lived with various followers. His libertine lifestyle led to denunciations in the British press, and the Italian government evicted him in 1923. He divided the following two decades between France, Germany, and England, and continued to promote Thelema until his death.
Samuel Liddell MacGregor Mathers was born in 1854 in London, England. He attended Bedford School and, after graduating, began work as a clerk in Dorset. His father died while he was a young boy, and his mother died while he was in his thirties. Shortly after his mother's death, he moved from Dorset to London. He was married to Monia Bergson, the sister of the philosopher Henri Bergson. Mathers was a freemason - raised as a Master Mason in 1878. In 1882 he was admitted to the Metropolitan College of the Societas Rosicruciana in Anglia (SRIA) as well as a number of fringe Masonic degrees. Working hard both for and in the SRIA, he was awarded an honorary 8th Degree in 1886. Upon the death of William Robert Woodman in 1891, Mathers assumed leadership of the Hermetic Order of the Golden Dawn. He moved with his wife to Paris on 21 May 1892. After his expulsion from the Golden Dawn in April 1900, Mathers formed a group in Paris in 1903 called Alpha et Omega (its headquarters, the Ahathoor Temple). Mathers assumed the title of "Archon Basileus". Mathers was a polyglot; among the languages he had studied were English, French, Latin, Greek, Hebrew, Gaelic and Coptic - though he had a greater command of some languages than of others. His translations of such books as The Book of Abramelin (14thC.), Christian Knorr von Rosenroth's The Kabbalah Unveiled (1684), Key of Solomon (anonymous 14thC.), The Lesser Key of Solomon (anonymous 17thC.), and the Grimoire of Armadel (17thC.), while probably justly criticized with respect to quality, were responsible for making what had been obscure and inaccessible material widely available to the non-academic English speaking world. His works have had considerable influence on the development of occult and esoteric thought since their publication, as has his consolidation of the Enochian magical system of John Dee and Edward Kelley. Mathers died in November 1918 in Paris. The manner of his death is unknown; his death certificate lists no cause of death. Violet Firth claimed his death was the result of the Spanish influenza of 1918. While this seems likely, few facts are known about Mathers's private life, verification of such claims is difficult.
2024, English
Softcover, 24 pages, 23 x 15.5 cm
Published by
Adultbrain / US
$26.00 - In stock -
"Every man and every woman is a star."
The Book of the Law is a seminal text in the philosophy of Thelema, penned by Aleister Crowley under alleged dictation from a spiritual entity in 1904. This mysterious and provocative work challenges conventional ideas of morality, spirituality, and human purpose, advocating for a new path of individual freedom through the law of Thelema: "Do what thou wilt shall be the whole of the Law." With cryptic verses, poetic language, and timeless wisdom, Crowley's magnum opus continues to captivate and inspire those who seek a deeper understanding of existence, freedom, and the self.
This Adultbrain Publishing edition brings Crowley's powerful work to a new generation of seekers, accompanied by an insightful introduction and annotations that help guide readers through the book's intricate symbolism and themes. Whether you're delving into Thelema for the first time or revisiting this powerful manifesto of personal will and spiritual evolution, this edition offers clarity and context to fully appreciate the depth of Crowley's revelation.
Back of the Book:
Unlock the Mysteries of The Book of the Law - A Guide to Personal Freedom and Spiritual Empowerment.
Written under extraordinary circumstances by Aleister Crowley in 1904, The Book of the Law has since become a cornerstone of Thelema, a spiritual philosophy that emphasizes individual freedom, self-discovery, and the pursuit of one's true will. With its often cryptic and poetic passages, this work has challenged and inspired readers for over a century.
In this newly formatted Adultbrain Publishing edition, discover the full text of Crowley's visionary work along with annotations and commentary to aid both new and returning readers in their journey through the profound and often misunderstood principles of Thelema. Whether you seek to explore the limits of human potential or to find spiritual liberation, The Book of the Law offers a path that demands courage, insight, and personal accountability.
Product Details
ISBN: 9781998614349
ISBN-10: 1998614344
Publisher: Adultbrain Publishing
Publication Date: October 18th, 2024
Pages: 26
Language: English
2026, English
296 pages, 20.3 x 14 cm.
Published by
Wakefield Press / Cambridge
$43.00 - In stock -
After entering the literary world under the pseudonym Julius Krekel, the Belgian poet Clément Pansaers underwent a series of revelatory events that resulted in his rebirth as a Dadaist poet writing under his own name. Pansaers went on to produce a body of poetic work that earned the admiration of everyone from Ezra Pound to Tristan Tzara.
Bar Nicanor collects all of the reborn Pansaers’ work, including the “Lent Meditations” and Apology for Laziness; the even more radical books published under the banner of Dada, such at the titular Bar Nicanor; and the posthumous I Blennorrhage and Programmatic Fermata for Young Orangutan. Also included are the essays he published in various journals, including “DADA and Me,” in which he signaled of the end of the Dada movement, and what remains of the novel he had been working on at the end of his life, Lamprido, based on the characters of himself and his good friend Carl Einstein.
Clément Pansaers (1885–1922) turned to poetry after abandoning his career as an Egyptologist. Despite his early death from Hodgkin’s disease, his poetry is now recognized as some of the most radical of the Dada movement.
1993 / 1998, English
Softcover, 176 pages, 23 x 21.6 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$50.00 - In stock -
First 1993 English edition from the legendary Atlas Press, London, 1998 printing.
"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, only light wear/age but with some marginalia/underlining.
2025, English
Softcover, 130 pages, 20.3 x 17.8 cm
Published by
The New York Review of Books / New York
$36.00 - In stock -
Ancient Mesopotamia, the Zodiac, and the land of the dead feature in this wildly surrealistic adventure story—Leonora Carrington's revolutionary second novel, long out of print.
The Stone Door is an omen, an incantation, and an adventure story rolled into one. Built in layers like a puzzle box, it is the tale of two people, of love and the Zodiac and the Kabbalah, of Transylvania and Mesopotamia converging at the Caucasus, of a mad Hungarian King named Böles Kilary and of a woman's discovery of an initiatory code that leads to a Cyclopean obstacle, to love, self and awareness, to the great stone door of Kescke and beyond.
Written at the end of World War II but not published until 1977 and long unavailable, The Stone Door is at once a celebration of the union of the surrealist painter Leonora Carrington and her husband, the Hungarian-born photographer Chiki Weisz, and an argument for the unification of the male and the female as a means of liberating the human race.
2018, English
Softcover, 104 pages, 20.5 x 13.5 cm
Published by
Snuggly Books / UK
$38.00 - In stock -
During his lifetime the eccentric Count Eric Stenbock published a single collection of short stories, Studies of Death. These seven tales, at once feverish, morbid, and touching, are a key work of English decadence and the Yellow Nineties.
Stanislaus Eric Stenbock (1860–1895), Count of Bogesund, was born in the South West England to Lucy Sophia Frerichs, an English cotton heiress, and Count Erich Stenbock, who was of a distinguished Swedish noble family of the Baltic German House of nobility in Reval. He inherited his family’s estates in 1885 and returned to live in his manor house at Kolkbriefly for a period before returning to England. In his life he published three volumes of poetry and one collection of short stories, Studies of Death. He died as a result of alcoholism and opium addiction.
2023, English
Softcover, 344 pages, 20.9 x 15 cm
Published by
Strange Attractor / London
$49.00 - In stock -
A revised edition of Phil Baker's critically lauded biography of artist and occultist, Austin Osman Spare.
London has harbored many curious characters, but few more curious than the artist and visionary Austin Osman Spare (1886-1956).
A controversial enfant terrible of the Edwardian art world, the young Spare was hailed as a genius and a new Aubrey Beardsley, while George Bernard Shaw reportedly said "Spare's medicine is too strong for the average man."
But Spare was never made for worldly success and he went underground, falling out of the gallery system to live in poverty and obscurity south of the river. Absorbed in occultism and sorcery, voyaging into inner dimensions, and surrounding himself with cats and familiar spirits, he continued to produce extraordinary art while developing a magical philosophy of pleasure, obsession, and the subjective nature of reality.
Today Spare is both forgotten and famous, a cult figure whose modest life has been much mythologized since his death. This groundbreaking biographical study offers wide-ranging insights into Spare's art, mind and world, reconnecting him with the art history that ignored him and exploring his parallel London; a bygone place of pub pianists, wealthy alchemists, and monstrous owls.
This richly readable and illuminating biography takes us deep into the strange inner world that this most enigmatic of artists inhabited, shedding new light while allowing just a few shadowy corners to flourish unspoiled.
Revised, updated, and with a new afterword by the author, this is the definitive edition of Phil Baker's critically lauded Austin Osman Spare: The Life and Legend of London's Lost Artist.
Industry Reviews
"Phil Baker's study is a first-rate performance, scrupulously researched, judicious and refreshingly sane... Spare comes to seem a strangely attractive figure: talented, stoical, randy, cantankerous, gentle and a magnificent English eccentric."
-The Literary Review
"[Told with] zest and insight... Ever determined to break down the barriers between reality and fantasy, Spare has finally achieved it-not by elaborate psychic exercises, but through biography."
-Matthew Sturgis, Times Literary Supplement
"I cannot recommend Austin Osman Spare too highly. Phil Baker has done a wonderful job of bringing the complexities and contradictions of Spare's life to the fore, and in making the London of Spare's time come to life vividly and richly."
-Phil Hine, enfolding.org
"Phil Baker's book is excellent; it's the one many Spare enthusiasts such as I had been waiting for."
-John Coulthart, London Society Journal
"So many of Spare's works look like sketches for a masterwork rather than the finished article. Perhaps the finished article was Spare's life itself, an extraordnary carnival of strange chacters and incidents, some of them semi-mythical. It is as good as a novel."
-Reggie Oliver, Wormwood
1991, English
Softcover, 240 pages, 21 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Blast Books / Baltimore
$40.00 - In stock -
"This book belongs on the shelf of every Johnson in America."–William S. Burroughs
First 1991 edition of The Drug User: Documents 1840-1960, published by Blast Books, Baltimore. Foreword by William S. Burroughs.
Charles Baudelaire, Jean Cocteau, Anais Nin, and Aldous Huxley are just some of the notable authors included in this one-of-a-kind volume of writings on the drug experience. Stretching back 120 years to the days of legal use, The Drug User: Documents 1840-1960 includes essays on hashish use by a New York physician (1910) and a clergyman's son (1857); accounts of opium extravagances by artists and journalists in the first decades of this century; reports on ritual peyote use by an ethnologist in 1896 and of mushrooms by a banker in 1953; the journals of experimenting scientists and poets alike on the ingestion of newly synthesized hallucinogens such as mescaline and LSD in the 1930s and 40s.
Writings by Antonin Artaud, John (Fire) Lame Deer, Dr. Albert Hofmann, Sigmund Freud, Boxcar Bertha, Gérard de Nerval, Stanislaw Witkiewicz, and many more demonstrate surprisingly wide-ranging perspectives on this subject. No down-and-out apologies of reformed junkies, no hyperbolic heroics of crime-busting drug czars, these neglected records of drug use are thoughtful and provocative excursions into the material and spiritual realms of existence arising from the use of intoxicating substances.
Texts by William S. Burroughs, John Strausbaugh, James Lee, Charles Baudelaire, Antonin Artaud, Robert S. de Ropp, Herbert Huncke, René Daumal, John (Fire) Lame Deer, R. Gordon Wasson, Albert Hofmann, Fitz Hugh Ludlow, Mabel Dodge Luhan, Mezz Mezzrow, Victor Robinson, Anaïs Nin, Mark Twain, Sigmund Freud, H. H. Kane, James Mooney, Heinrich Klüver, Henri Michaux, William Blair, Boxcar Bertha Thompson, Jean Cocteau, Théophile Gautier, Gérard de Nerval, Anonymous, Aldous Huxley, Followers of the Tipi Way, Stanislaw Witkiewicz.
VG copy with some wear to boars/extremities. Crisp/tight copy otherwise.
2020, English
Softcover, 322 pages, 13 x 19.5 cm
Published by
Repeater Books / London
$38.00 - In stock -
Edited and with an introduction by Eugene Thacker, On the Suffering of the World comprises a core selection of Schopenhauer's later writings, gathered together for the first time in print.
These texts, produced during the last decades of Schopenhauer's long life, reveal a unique kind of philosophy, expressed in a singular style. Eschewing the tradition of dry, totalizing, academic philosophy prevalent during the time, Schopenhauer's later writings mark a shift towards a philosophy of aphorisms, fragments, anecdotes and observations, written in a literary style that is by turns antagonistic, resigned, confessional, and filled with all the fragile contours of an intellectual memoir. Here Schopenhauer allows himself to pose challenging questions regarding the fate of the human species, the role of suffering in the world, and the rift between self and world that increasingly has come to define human existence, to this day. It is these writings of Schopenhauer that later generations of artists, poets, musicians, and philosophers would identify as exemplifying the pessimism of their era, and perhaps of our own as well.
On the Suffering of the World is presented with an introduction that places Schopenhauer's thought in its intellectual context, while also connecting it to contemporary concerns over climate change, the anthropocene, and the spectre of human extinction. The book also includes a bibliography and chronology of Schopenhauer's life.
1991, English
Softcover, 404 pages, 15.2 x 22.9 cm
1st Edition, Out of print title / used / very good
Published by
Harvard University Press / Cambridge
$45.00 - In stock -
This richly detailed biography of a key figure in nineteenth-century philosophy pays equal attention to the life and to the work of Arthur Schopenhauer. Rudiger Safranski places this visionary skeptic in the context of his philosophical predecessors and contemporaries Kant, Fichte, Schelling, Hegel-and explores the sources of his profound alienation from their "secularized religion of reason." He also provides a narrative of Schopenhauer's personal and family life that reads like a Romantic novel: the struggle to break free from a domineering father, the attempt to come to terms with his mother's literary and social success (she was a well-known writer and a member of Goethe's Weimar circle), the loneliness and despair when his major philosophical work, The World as Will and Representation, was ignored by the academy. Along the way Safranski portrays the rich culture of Goethe's Weimar, Hegel's Berlin, and other centers of German literary and intellectual life.
When Schopenhauer first proposed his philosophy of "weeping and gnashing of teeth," during the heady "wild years" of Romantic idealism, it found few followers. After the disillusionments and failures of 1848, his work was rediscovered by philosophers and literary figures. Writers from Nietzsche to Samuel Beckett have responded to Schopenhauer's refusal to seek salvation through history.
The first biography of Schopenhauer to appear in English in this century, Schopenhauer and the Wild Years of Philosophy succeeds in bringing to life an intriguing figure in philosophy and the intellectual battles of his time, whose consequences still shape our world.
First 1991 edition, Very Good copy.
2025, English
Softcover, 360 pages, 21.5 x 14 cm
Published by
University of Minnesota Press / Minnesota
Univocal Publishing / Minneapolis
$62.00 - In stock -
From 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.
Through paintings and writing by Rembrandt, Delacroix, Turner, Cezanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off greyness and attain color? What is a line without contour? Why paint at all?
Written and thought in a rhizomatic manner that is thoroughly Deleuzian-strange, powerful, and novel-On Painting traverses both the conception of art history and the possibility of color as a philosophical concept.
Edited by David Lapoujade, translated by Charles J. Stivale.
2005, English
Softcover, 304 pages, 15 x 21.1 cm
Published by
Grove Press / New York
$39.00 - In stock -
Set largely on the pages of a website where gay male escorts are reviewed by their clients, and told through the postings, emails, and conversations of several dozen unreliable narrators, The Sluts chronicles the evolution of one young escort's date with a satisfied client into a metafiction of pornography, lies, half-truths, and myth. Explicit, shocking, comical, and displaying the author's signature flair for blending structural complexity with direct, stylish, accessible language, The Sluts is Cooper's most transgressive novel since Frisk, and one of his most innovative works of fiction to date.
Dennis Cooper (born 1953) is an American novelist, poet, critic, editor and performance artist who grew up in the Southern California. In 1976, he founded Little Caesar Magazine and Press, which he ran until 1982. In 1985, he moved to Amsterdam for two and a half years, where he began his ten year long project, The George Miles Cycle, an interconnected sequence of five novels that includes Closer, Frisk, Try, Guide, and Period. His post-George Miles Cycle novels include My Loose Thread, The Sluts and God, Jr. Other works include the short-story collections Wrong and Ugly Man, poetry collections The Dream Police and The Weaklings, as well as the recent Smothered in Hugs: Essays, Interviews, Feedback, and Obituaries.
Dennis Cooper currently spends his time between Los Angeles and Paris.
"Dennis Cooper, God help him, is a born writer"—William Burroughs
"Cooper’s language is at first intense, nearly minimal, then suddenly, it ascends into vision"—Kathy Acker
2020, English
Softcover, 144 pages, 13.7 x 20.3 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
"It is really just one of the best books ever, and maybe the greatest novel ever written" - Dennis Cooper
Castle Faggot is Derek McCormack's darkest and most delicious book yet, a satire of sugary cereals and Saturday morning cartoons set in an amusement park more deranged than anything Disney dreamed up. At the heart of the park is Faggotland, a playland for gay men, and Castle Faggot, the darkest dark ride in the world. Home to a cartoon Dracula called Count Choc-o-log, the castle is decorated with the corpses of gays—some were killed, some killed themselves, all ended up as décor.
The book includes a map of Faggotland, a photobook of the castle, the instructions for a castle-shaped dollhouse, and the novelization of a TV puppet show about Count Choc-o-log and his friends—reminiscent of the classic stop-motion special Rudolph the Red-Nosed Reindeer, but even gayer and more grotesque. As scatological as Sade but with a Hanna-Barbera vibe, Castle Faggot transmutes McCormack's love of the lurid and the childlike, of funhouses and sickhouses, into something furiously funny: as Edmund White says, “the mystery of objects, the lyricism of neglected lives, the menace and nostalgia of the past—these are all ingredients in this weird and beautiful parallel universe.”
Afterword by Dennis Cooper and Zac Farley
In Derek McCormack's home province, farm boys with growing pains enjoy a little-known meal called bed-supper—a hearty bowl of sweet breakfast cereal enjoyed as a midnight snack. Here McCormack has composed a peculiarly salacious bed-supper, where the long secret sweet-tooth of the Marquis de Sade glints as it sinks into the dirtiest of dishes. This useful book will more than stay your appetite until breakfast—Castle Faggot is also a manual of redecoration, a musical, a puppet show, a theory of cosmetics, a work of poetics, and a glorious celebration of the French decadence. - Lisa Robertson, author of The Baudelaire Fractal
1974, English
Softcover, 218 pages, 22.2 x 13.3 cm
1st Edition, Out of print title / used / very good
Published by
E P Dutton / New York
$65.00 - Out of stock
Scarce first 1974 Dutton edition of Dworkin’s seminal debut which argued that a deep-rooted hatred of women reigned society for centuries – and still governs us today.
‘This book is an action, a political action where revolution is the goal’
Andrea Dworkin’s blazing, prophetic debut argued that a deep-rooted hatred of women has been ingrained in society for centuries – and still governs us today. From fairy tales to erotic novels to witch-burnings, she uncovers the ways in which male violence and oppression have been normalized throughout history, and points the way to liberation.
"... a bold and visionary book.... Her ideas are powerful and dangerous."—Phyllis Chesler
"Reading a fairy tale after reading Woman Hating will never be the same. Nor will the phrase 'they lived happily ever after.'"—Ellen Frankfort
"To see where we are going we must understand where we have been. Woman Hating is a much needed and long overdue addition toward that understanding."—Audre Lourde
"The very fact of Dworkin's book, its abrasive, outrageous quality, its ability to generate so much abuse, anger, warfare—is testament to its power."—Kate Millett
"This book is fast, pure, and angry. Just reading the chapter on foot-binding or the Story of O could turn a reader into a revolutionary."—Gloria Steinem
Very Good copy, light foxing to block edges, spine sunned no creasing, tight binding.
2006, English
Softcover, 144 pages, 21.5 x14 cm
Out of print title / used / very good
Published by
Solar Books / UK
$140.00 - In stock -
Rare first 2006 Solar Books edition.
Translated into English for the first time, this novelized biography of the 3rd-century Roman Emperor Heliogabalus is simultaneously Artaud’s most accessible and his most extreme book. Written in 1933, at the time when Artaud was preparing to stage his legendary Theatre of Cruelty, Heliogabalus is a powerful concoction of sexual excess, self-deification and terminal violence. Reflecting its author’s preoccupations with the occult, magic, Satan, and a range of esoteric religions, this account of Heliogabalus’ reign invents incidents in the Emperor’s life in order to make the print of the author’s own passionate denunciations of modern existence.
Heliogabalus is Artaud’s greatest and most revolutionary masterpiece: an incendiary work that reveals both the divine cruelty of the Roman Emperor and that of Artaud himself.–Stephen Barber
Very Good copy.
2008, English
Softcover, 190 pages, 22 x 14 cm
Out of print title / used / very good
Published by
Solar Books / UK
$140.00 - In stock -
2003 Solar Books edition of the long out-of-print English edition of Eden, Eden, Eden — Pierre Guyotat's masterpiece of atrocity and obscenity, with preface by Roland Barthes and introduction by Stephen Barber.
The most subversive French novelist of the later 20th century, Pierre Guyotat (b. 1940) was the uncompromising heir of De Sade, Artaud, Rimbaud and Genet. Published in France in 1970 by Gallimard, with a preface by Michel Leiris, Roland Barthes and Philippe Sollers, Eden, Eden, Eden was greeted by both furore and acclaim. The book was immediately banned by the French government as pornographic. A campaign of international support for the book was signed by the like of Pier Paolo Pasolini, Jean-Paul Sartre, Pierre Boulez, Joseph Beuys, Pierre Dac, Jean Genet, Simone de Beauvoir, Joseph Kessel, Maurice Blanchot, Max Ernst, Italo Calvino, Jacques Monod, and Nathalie Sarraute. François Mitterrand and Georges Pompidou tried to get the ban lifted but failed until 11 years later when a newly elected President Mitterrand personally intervened to lift the ban in 1981.
Today Eden, Eden, Eden is recognised as one of the major works of the last century. In literally a single sentence, a desert-like, polluted, apocalyptic landscape of unending civil war unfolds without any morality (and therefore also without evil). This delirious, lacerating novel of startling innovation brings scenes of brutal carnage into intimate collision with relentless acts of prostitutional sex and humiliation.
"a new landmark and starting-point for new writing"—Roland Barthes
"I have never read anything like it in any stream of literature"—Michel Foucault
Very Good copy with some light creasing.