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:
37 Swanston Street
Room 5, Level 6
Melbourne 3000
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.
2025, English
Softcover, 256 pages, 20.5 x 13.5 cm
Published by
Strange Attractor / London
$37.00 - In stock -
From the Golden Fly to the Wounded Lion, animal tales of decadence, mystery, and the uncanny.
An original collection of animal stories and poems from fin-de-siècle England and France, selected, translated, and introduced by Jessica Gossling and Sam Kunkel. Bringing together works by forty writers including Michael Field, Remy de Gourmont, Lafcadio Hearn, J. K. Huysmans, Rachilde, and Eric Count Stenbock, this timely anthology explores the inexorable connection between human and animal, from the lion to the ant. Bringing together tales both familiar and largely unknown, some of them translated into English for the first time, The Decadent Bestiary opens a new chapter in the complex story of our relationship with the natural world, showcasing the beasts of beauty and burden that recur in decadent and symbolist writing.
2012, English
Softcover, 220 pages, 20.3 x 13.2 cm
Published by
New Directions / New York
$34.00 - Out of stock
Translated from the Portuguese by Idra Novey
Edited by Benjamin Moser
Introduction by Caetano Veloso
The Passion According to G.H., Clarice Lispector's mystical novel of 1964, concerns a well-to-do Rio sculptress, G.H., who enters her maid’s room, which is as clear and white 'as in an insane asylum from which dangerous objects have been removed'. There she sees a cockroach - black, dusty, prehistoric - crawling out of the wardrobe and, panicking, slams the door on it. The sight of the dying insect provokes a spiritual crisis, in which she questions her place in the universe and her very identity, at the height which comes one of the most famous and most genuinely shocking scenes in Latin American literature. Clarice Lispector's spare, deeply disturbing yet luminous novel transforms language into something otherworldly, and is one of her most unsettling and compelling works. Lispector wrote that of all her works this novel was the one that “best corresponded to her demands as a writer.”
“One of the hidden geniuses of 20th-century literature” — Colm Tóibín
[Lispector] left behind an astounding body of work that has no real corollary inside literature or outside it. — Rachel Kushner
Clarice Lispector (1920—1977) was a Ukrainian-born Brazilian novelist and short story writer acclaimed internationally for her innovative novels and short stories. Born in 1920 to a Jewish family in western Ukraine. As a result of the anti-Semitic violence they endured, the family fled to Brazil in 1922, and Clarice Lispector grew up in Recife. Following the death of her mother when Clarice was nine, she moved to Rio de Janeiro with her father and two sisters, and she went on to study law. With her husband, who worked for the foreign service, she lived in Italy, Switzerland, England, and the United States, until they separated and she returned to Rio in 1959; she died there in 1977. Since her death, Clarice Lispector has earned universal recognition as Brazil’s greatest modern writer.
2012, English
Softcover, 88 pages, 20.3 x 13.2 cm
Published by
New Directions / New York
$29.00 - In stock -
Translated by Stefan Tobler
Preface by Benjamin Moser
A meditation on the nature of life and time, Agua Viva (1973) shows Lispector discovering a new means of writing about herself, more deeply transforming her individual experience into a universal poetry. In a body of work as emotionally powerful, formally innovative, and philosophically profound as Clarice Lispector's, Agua Viva stands out as a particular triumph.
“One of the hidden geniuses of 20th-century literature” — Colm Tóibín
[Lispector] left behind an astounding body of work that has no real corollary inside literature or outside it. — Rachel Kushner
Clarice Lispector (1920—1977) was a Ukrainian-born Brazilian novelist and short story writer acclaimed internationally for her innovative novels and short stories. Born in 1920 to a Jewish family in western Ukraine. As a result of the anti-Semitic violence they endured, the family fled to Brazil in 1922, and Clarice Lispector grew up in Recife. Following the death of her mother when Clarice was nine, she moved to Rio de Janeiro with her father and two sisters, and she went on to study law. With her husband, who worked for the foreign service, she lived in Italy, Switzerland, England, and the United States, until they separated and she returned to Rio in 1959; she died there in 1977. Since her death, Clarice Lispector has earned universal recognition as Brazil’s greatest modern writer.
2012, English
Softcover, 144 pages, 20.3 x 13.2 cm
Published by
New Directions / New York
$34.00 - In stock -
Translated from Portuguese by Johnny Lorenz
Edited by Benjamin Moser
A mystical dialogue between a male author (a thinly disguised Clarice Lispector) and his/her creation, a woman named Angela, this posthumous work has never before been translated. Lispector did not even live to see it published. At her death, a mountain of fragments remained to be “structured” by a friend, Olga Borelli. These fragments form a dialogue between a god-like author who infuses the breath of life into his creation: the speaking, breathing, dying creation herself, Angela Pralini. The work’s almost occult appeal arises from the perception that if Angela dies, Clarice will have to die as well.
2012, English
Softcover, 192 pages, 20.3 x 13.2 cm
Published by
New Directions / New York
$32.00 - Out of stock
Translated from Portuguese by Alison Entrekin
Edited by Benjamin Moser
Near to the Wild Heart, published in Rio de Janeiro in 1943, introduced Brazil to what one writer called “Hurricane Clarice”: a twenty-three-year-old girl who wrote her first book in a tiny rented room and then baptized it with a title taken from Joyce: “He was alone, unheeded, near to the wild heart of life.”
The book was an unprecedented sensation — the discovery of genius. Narrative epiphanies and interior monologue frame the life of Joana, from her middle-class childhood through her unhappy marriage and its dissolution to transcendence, when she proclaims: “I shall arise as strong and comely as a young colt.”
2022, English
Softcover, 104 pages, 30 x 24 cm
Published by
Primary Information / New York
$53.00 $30.00 - In stock -
More than a decade after the liberation movements of the 1960s and the historic Bandung and Tricontinental Conferences, which called for social and political alignment and solidarity among the nations of Africa, Asia, and Latin America in order to dismantle Western imperialism and (neo)colonialism, Black Phoenix issued a rallying cry for the formation of a liberatory arts and culture movement throughout the Third World. International in scope, Black Phoenix positioned diasporic and colonial histories at the center of an evolving anti-racist and anti-imperialist consciousness in late 1970s Britain and beyond—one that would yield complex and nuanced discourses of race, class, and postcolonial theory in the decade that followed. Black Phoenix proposed a horizon for Blackness that transcended racial binaries, across the Third World and the West.
Contributors include art critics, scholars, artists, poets, and writers, including Rasheed Araeen (Pakistan) and Mahmood Jamal (Pakistan), Guy Brett (United Kingdom), Kenneth Coutts-Smith (United Kingdom), Ariel Dorfman (Chile), Eduardo Galeano (Uruguay), N. Kilele (Tanzania), Babatunde Lawal (Nigeria), David Medalla (Philippines), Ayyub Malik (Pakistan), Susil Siriwardena (Sri Lanka), and Chris Wanjala (Kenya).
Rasheed Araeen is a Karachi-born, London-based artist, activist, writer, editor, and curator. Aareen founded the critical journals Black Phoenix, Third Text, and Third Text Asia, and took on activist roles with the Black Panthers and Artists for Democracy. His work has been exhibited widely, including, most recently, at the Pulitzer Arts Foundation, Chicago; BALTIC Centre of Contemporary Art, Gateshead; MAMCO, Geneva; Van Abbemuseum, Eindhoven; Tate Britain, London; the 2017 Venice Biennale; and Documenta 14, Athens/Kassel, among others.
Mahmood Jamal was born in Lucknow, India, and moved to Britain from Pakistan in 1967. He published several books of poetry, including Sugar Coated Pill (2007), and translated the Islamic Mystical Poetry: Sufi Verse from the Early Mystics to Rumi (2009) and Faiz: Fifty Poems (2013), among other titles. In 1983, he co-formed the all-Asian Retake Film and Video Collective production company, and initiated Epicflow Films in 1989. Jamal worked as an independent producer and writer; produced several documentary series, including Islamic Conversations; was a lead writer on Britain’s first Asian soap, Family Pride (1991–92), and wrote and produced Turning World (1996) for Channel4 television. He died in London in December 2020.
Last copy with a knock to bottom spine corner.
2009, English
Softcover, 197 pages, 20.9 x 13.1 cm
Published by
New Directions / New York
$30.00 - In stock -
On a crowded bus at midday, Raymond Queneau observes one man accusing another of jostling him deliberately. When a seat is vacated, the first man appropriates it. Later, in another part of town, Queneau sees the man being advised by a friend to sew another button on his overcoat. Exercises in Style retells this unexceptional tale ninety-nine times, employing the sonnet and the alexandrine, “Ze Frrench” and “Cockney.” An “Abusive” chapter heartily deplores the events; “Opera English” lends them grandeur. In 1947, when Exercises in Style first appeared in French, it led to Queneau’s election to the highly prestigious Académie des Goncourt. He once told Barbara Wright that of all of his books, this was the one he most wished to see translated. He rendered her his “heartiest congratulations,” adding: “I have always thought that nothing is untranslatable. Here is new proof. And it is accomplished with all the intended humor. It has not only linguistic knowledge and ingenuity, it also has that.”
Raymond Queneau was a French novelist, poet, critic, editor and co-founder and president of Oulipo, notable for his wit and cynical humour. Born in Le Havre in 1903, Queneau went to Paris when he was 17. In 1924 Queneau met and briefly joined the Surrealists, but never fully shared their penchants for automatic writing or ultra-left politics. Like many surrealists, he entered psychoanalysis—however, not in order to stimulate his creative abilities, but for personal reasons, as with Leiris, Bataille, and Crevel. Now, seeing Queneau's work in retrospect, it seems inevitable. The Surrealists tried to achieve a sort of pure expression from the unconscious, without mediation of the author's self-aware "persona." Queneau's texts, on the contrary, are quite deliberate products of the author's conscious mind, of his memory, and his intentionality. Although Queneau's novels give an impression of enormous spontaneity, they were in fact painstakingly conceived in every small detail.
1999, English
Softcover, 120 pages, 15.2 x 22.9 cm
Published by
New Directions / New York
$32.00 - Out of stock
"Midwinter Day," as Alice Notley noted, "is an epic poem about a daily routine." A poem in six parts, Midwinter Day takes us from awakening and emerging from dreams through the whole day-morning, afternoon, evening, night-to dreams again: ." . . a plain introduction to modes of love and reason/Then to end I guess with love, a method to this winter season/Now I've said this love it's all I can remember/Of Midwinter Day the twenty-second of December//Welcome sun, at last with thy softer light/That takes the bite from winter weather/And weaves the random cloth of life together/And drives away the long black night!"
2017, English
Softcover, 256 pages, 21 x 14 cm
Published by
New Directions / New York
$40.00 - In stock -
"The president of the republic of dreams"—Louis Aragon
"An intoxicating sui generis novel by the greatest mesmerist of modern times"—André Breton
"Genius in its pure state. The Proust of dreams."—Jean Cocteau
The wealthy scientist Martial Canterel guides a group of visitors through his expansive estate, Locus Solus, where he displays his various deranged inventions: a machine propelled by the weather, which constructs a mosaic out of varying hues of human teeth; a hairless cat charged with a powerful electric battery; a bizarre theater in which corpses are reanimated with a special serum to enact the most important movements of their past lives. Wondrously imaginative and narrated with Roussel’s deadpan wit, Locus Solus is unlike anything else ever written.
Translated from French by Rupert Copeland Cunningham
"[H]e was a seminal influence on surrealism, Dadaism, the nouveau roman, and the Oulipo….Roussel could have attempted to go the way of a popular writer like Rostand or of an avant-garde writer like Breton, but, both admirably and foolishly, he remained Roussel to the end."—Ryan Ruby, Lapham's Quarterly
"Raymond Roussel's works immediately absorbed me: I was taken by the prose style even before learning what was behind it—the process, the machines, the mechanisms—and no doubt when I discovered his process and his techniques, the obsessional side of me was seduced a second time by the shock of learning of the disparity between this methodically applied process, which was slightly naive, and the resulting intense poetry."—Michel Foucault
"There is hidden in Roussel something so strong, so ominous, and so pregnant with the darkness of the 'infinite spaces' that frightened Pascal, that one feels the need for some sort of protective equipment when one reads him."—John Ashbery
2026, English
Softcover, 336 pages, 21 x 14.3 cm
Published by
Strange Attractor / London
$47.00 - In stock -
Nearly 40 nearly forgotten essays on magic and esotericism by Ithell Colquhoun.
Edited by Amy Hale.
Writer, artist, and wilfully dissident surrealist Ithell Colquhoun (1906–1988) invested her unique works with magical learning, esoteric lore, and a palpable sense of mystery. Despite having published widely on esoteric and occult topics during her lifetime, Colquhoun was never to produce a single book-length edition of her magical writings. As a result, many of her essays were lost or neglected.
A Walking Flame: Selected Magical Writings Of Ithell Colquhoun gathers nearly 40 texts by this unique artist and magical practitioner, and displays cohesively, and for the first time, the impressive breadth of Colquhoun's magical interests and expertise, and how these came to inform her singular works. Ranging from early encounters with the Kabbalah and esoteric color theory, to Celtic mysticism and alchemy, this volume, edited by Colquhoun scholar and folklorist Amy Hale, promises to shed a necessary light on an integral body of Colquhoun's thought that has remained occluded for too long.
1972, Italian
Hardcover (w. dust jacket), 170 pages, 22.5 x 14.5 cm
1st Edition, Out of print title / used / good
Published by
Einaudi / Turin
$70.00 - In stock -
First Italian hardcover edition of Italo Calvino's classic, Le città invisibili (The Invisible Cities), published with Rene Magritte dust jacket by Einaudi, 1972. Third printing.
A melancholic Chinese emperor, Kublai Khan who, after conquering the world, has lost all hope of saving it from its slow decay, listens to descriptions of mysterious cities from the voice of a visionary Marco Polo. Gradually it becomes clear that he is actually describing one city: Venice. As Gore Vidal wrote 'Of all tasks, describing the contents of a book is the most difficult and in the case of a marvellous invention like Invisible Cities, perfectly irrelevant.'
Invisible Cities is a captivating meditation on culture, language, time, memory and the nature of human experience.
Good copy in Good dust jacket (now preserved under archival mylar wrap). Some very small closed tears to DJ, light old moisture rippling. Book G–VG with some light foxing/dustiness to block edges, light bowing to boards, minor edge wear.
1992, English
Softcover (w. dust jacket), 84 pages, 14.5 x 20.5 cm
Ed. of 500,
1st Edition, Out of print title / used / fine
Published by
Kerb Your Dog / Sydney
$100.00 - Out of stock
Rare copy of Kerb Your Dog, the experimental Australian artist-edited anthology of artist pages, published in Sydney, Australia. Edited by John Nixon and John Young and published in an edition of 500 copies, this volume from 1992 – "TEXTBOOK" – addresses the question "what is contemporary art?", featuring pages by John Barbour, Eugene Carchesio, Tony Clark, Peter Cripps, Aleks Danko, John Dunkley-Smith, Clinton Garofano, Ross Harley, Tim Johnson, Lyndal Jones, Maria Kozic, Rosemary Laing, Shelley Lasica, Lindy Lee, Geoff Lowe, Robert Macpherson, John Nixon, Rose Nolan, Susan Norrie, David O'Halloran, Robert Owen, Mike Parr, Jacky Redgate, Carole Roberts, Vivienne Shark Lewitt, Peter Tyndall, Ken Unsworth, Geoffrey Weary, Wood / Marsh Architecture Pty. Ltd., John Young, and an essay by Janet Shanks. An invaluable collection of artist's "texts" from Australia in this very scarce document.
As New copy, light wear only.
2008 / 2015, English
4 hand-sewn books in a plastic file (softcover books w. cut/folded coloured papers, white photocopy title sheet), each book 16 pages, 21 x 21 cm
Ed. of 32, numbered,
Published by
Alex Selenitsch / Melbourne
$320.00 - In stock -
Artist book edition published in an edition of 32 hand-numbered copies. Each edition is made up of 4 hand-sewn books in a plastic file. Each book comprises 16 pages of cut/folded coloured papers presenting a colour narrative: four pastel ‘primaries’ making colour tableaux, introduced and closed off by black and white covers.
The coloured pages are assembled from A3 sheets which have been halved: accurately in two cases (straight line orthogonal and straight line incline) or approximately (sinusoidal and horizontal tear). The cut-outs on the cover hint at the kind of division or halving that the coloured sheets have been subjected to. Both halves are used in the edition of each book, so that each edition of 32 copies with 4 folded sheets (giving 16 pages) uses 64 sheets. For the approximate cuts (sinusoidal and horizontal tear), there is some variation inside the edition.
2000, English
Softcover, 48 pages, 25.5 x 20.5 cm
1st Edition, Out of print title / used / very good
Published by
Granary Books / New York
$50.00 - Out of stock
First edition, out–of–print.
A landmark first-time collaboration between poet Clark Coolidge and writer/scholar/artist Keith Waldrop, Bomb is a meditation on a book of photographs that documents the Manhattan Project. Coolidge's 30-page poem begins with epigraphs by Democritus, Gregory Corso and André Breton with Paul Eluard, and continues in an elliptical, glancing narrative style that lucidly investigates a subject often too traumatic to consider directly: the impact of the atomic bomb on our everday lives. As Coolidge puts it, the general tendency has been to "put the bomb in a glass vase/add dust and forget." Like all of Coolidge's work, Bomb is sharp, stark and rhythmic; the poet here tangles with the dreamlike oddness of the photographs at hand in fits and starts of highly textured language. Keith Waldrop's series of collages are literal reworkings of the original pictures: deep blacks and bright whites excavated from the book, remade here in the image of the poem.
Designed by Emily Y. Ho.
VG–NF copy. First ed. of 1500 copies.
1999, English
Softcover, 526 pages, 23 x 15 cm
Published by
Station Hill Press / Barrytown
$60.00 - In stock -
This essential reader from Station Hill (Blanchot’s longtime publisher in the United States) is six books in one, and the first and only collection of Maurice Blanchot’s celebrated fiction and critical/philosophical writing.
Regarded both on the European continent and in America as one of the truly great authors of French Post-Modernism, Blanchot’s reputation and readership in English has already established him as a modern classic. The Blanchot Reader brings together a substantial collection of critical and philosophical writings (The Gaze of Orpheus) and the only edition in print in English of his major works of fiction (Thomas the Obscure, Death Sentence, Vicious Circles, The Madness of the Day, When the Time Comes and The One Who Was Standing Apart From Me). General readers and students alike will seek out these essential works by the writer Susan Sontag referred to as an unimpeachably major voice in modern French literature.
Maurice Blanchot is now recognized as a major twentieth century philosopher whose influence extends to the works of Derrida, Foucault, Levinas, Lacan and others.
2026, English
Softcover, 284 pages, 20.5 x 13 cm
Published by
Anxiety Press / Chicago
$38.00 - In stock -
Beautiful people always get what they want.
Elizabeth Salas, single, middle-aged, and mostly confined to her room, lives in a faceless city in the American Southwest. She has little hope for the future. And then a young man named Jace Jason walks through the door…
Epic in scope, The Moon Down to Earth is filled with living, breathing characters rarely seen in modern novels today.
Look no further for the great American novel. James Nulick has lusted, labored and agonized to deliver just that. The Moon Down to Earth does more to remind us what the form is capable of than any in recent memory. With its almost unbearably intimate and probing portrayals of its richly inhabited characters, through their rolling, cascading thoughts, Nulick situates us in their deepest interiors and implicates us in their crimes. Río Seco is a Hispanic neighborhood in North Hill, a barrio evocative of the essence of the American Southwest. Moon follows eight coexisting lives as they navigate the quotidian and confront uncomfortable truths about themselves and the world, our world, which their humanity must reckon with. It so completely submerges us in the milieux that you can smell the dirt and desert dust. It never objectifies, never panders, it interrogates and provokes, it’s the kind of book that’ll light up parts of your brain you haven’t used in a very long time. It’s an experience like no other which will jolt a reader into recognition of what it is to be alive and human in 21st century America, with all its dimmed promises and tragic dimensions, its numbing vibrations, ebbings and flowings, its coruscating, convulsing noise and seductively unspeakable pinched nerve promises. Mystifying in its testament to our universal condition with respect to alien longings, Moon may as well have been programmed by an extraterrestrial on an ancient technology in some lost future long ago. Intoxicating and hallucinatory, The Moon Down to Earth stimulates in such a way as to lay bare everything you’re hiding. It reads you as you read it. Don’t miss this singular experience of sharing time on this rock together and alone. Nulick has put it all here in this extraordinary feat of revelation, defiant in its sensitivity and tireless determination to challenge the limits of writing.
Novels need human beings, and if there’s something James Nulick’s novel The Moon Down to Earth has, it is human beings, in all their multifold, messy complexity. By the end I felt as if I knew them intimately, from their musical tastes to the smell of their pillows. These desperate women and men aren’t just living on the edge, they’re dissolving in the singularity, the lapsarian wasteland of 21st century America, but Nulick allows a frail, fungal numinosity to glow through the cracks.—James Champagne, author of Harlem Smoke
James Nulick’s writing is tender and knowing as he explores, in The Moon Down to Earth, the inner lives of outsiders, the longings and disappointments, the fantasy and reality of pure quotidian existence. It is achingly beautiful in its description of the desires and disappointments of the neglected and the invisible.—Steve Finbow, author of The Mindshaft
James Nulick’s The Moon Down to Earth is a multi-narrative, unconventional, exciting novel in the spirit of William T. Vollmann—moving, sad, and at times, humorous. The Moon Down to Earth gives us hope for the future of the American novel.—Brandon Hobson, author of The Removed
In The Moon Down to Earth, the definitions of conventional beauty and acceptable desire are ripped open and turned inside out. James Nulick’s characters felt utterly alive to me. This is a fantastic novel that will stay with me a long time.—Chelsea Hodson, author of Tonight I’m Someone Else
With The Moon Down to Earth, James Nulick has succeeded in crafting some of the most perfectly sublime stand-alone sentences I have ever seen in a modern American novel.—Mike Kleine, author of Kanley Stubrick
James Nulick’s prose in The Moon Down to Earth is extraordinary, once harsh and tender, flaying and consoling, yet also enlivened by wit and erudition. The results are deeply revealing of the body’s incantatory rhythms, the somatic thought-forms. In this manner he delves with his reader to the limit of his characters’ souls.—Jonathan Lethem
The Moon Down to Earth is a hypnotic and frightening exploration of psychosis, though not without moments of strange warmth and tenderness. The hopes and desires of its various narrators—a bed-ridden social worker, a cosmos-minded pizza courier, a widower thirsting for sex and death—twist out toward each other like the tips of fractals before curling inward and collapsing. Here, Nulick beautifully captures the sheer psychedelia of human existence, and the myriad ways we devour each another.—B.R. Yeager, author of Negative Space
There is a sentence in James Nulick’s The Moon Down to Earth that I copied by hand so I could practice writing something more beautiful than I am currently capable of.—Christopher Zeischegg, author of The Magician
2015, English
Softcover, 302 pages, 12.7 x 20.32 cm
Published by
Nine-Banded Books / West Virginia
$35.00 - In stock -
A man checks into a hotel in a Mediterranean city on the banks of the Turia. He is far from home. He holds few possessions. Enough clothing for a week, money for drink. A few essential paperbacks, a cigar box of old photographs. He intends to commit suicide. But somewhere along the way he gets lost in the churn of memory.
Valencia is an elegiac and hallucinatory meditation on beauty, loss, and how memory is deceitful, even when photographs are involved.
The things we carry come from an infinite sadness. That sadness is the death of childhood.
Did you ever stumble across a writer who seems to have lived your life and inhabited your dreams, your darkest moods? This happened to me, and I hope it will happen to you as you read through the mesmerizing pages of James Nulick’s Valencia… Nulick has inherited, from Zola, from Celine, from Burroughs maybe, something of the sweetness that lingers when everything extant has died of rot. His book will live forever in the literature of truth and waste.—Kevin Killian, author of Spreadeagle
The prose of Valencia is delicately simple yet densely poetic. Its voice is haunting. I couldn’t help being reminded by every line I read in James Nulick’s novel of Garcia Lorca’s famous “Lament for Ignacio Sanchez Mejias” and its chilling refrain: At five o’clock in the afternoon.—Thomas Ligotti, author of The Conspiracy against the Human Race
2025, English
Softcover, 478 pages, 20.5 x 13 cm
Published by
Anxiety Press / Chicago
$42.00 - In stock -
Kickstand assembles all of James Nulick’s short fiction into one handsome volume, made widely available for the very first time. Includes the new stories King Richard, Kickstand, and The Gift.
"Deceptively symphonic, unafraid."—Blake Butler
"A mashup of Nabokov and Larry Clark."—Emily Drabinski, OUT
"The North American Julio Cortázar."—Matías Bragagnolo
"A writer's writer."—Dennis Cooper
"A refined literary dark horse."—Gabriel Hart, Los Angeles Review of Books
2026, English
Softcover, 316 pages, 20 x 13 cm
Published by
And Other Stories / UK
$39.00 - Out of stock
Now published for the first time outside of Australia, Landscape with Landscape was Gerald Murnane’s fourth book, after The Plains, and his first collection of short fiction. It offers a wide-ranging exploration of the different landscapes which make up the imagination of this extraordinary Australian writer. Five of the six loosely connected stories also trace a journey through the suburbs of Melbourne in the 1960s, as the writer negotiates the conflicting demands of Catholicism and sex, self-consciousness and intimacy, alcohol and literature. The sixth story, ‘The Battle of Acosta Nu’, is remarkable for its depth of emotion, as it imagines a Paraguayan man imagining a country called Australia, while his son sickens and dies before his eyes.
2015, English
Softcover, 384 pages, 13 x 20.5 cm
Published by
The New York Review of Books / New York
$38.00 - In stock -
Introduction by Helen Oyeyemi
A new translation from the Spanish by Daniel Balderston
Preface by Jorge Luis Borges
Thus Were Their Faces offers a comprehensive selection of the short fiction of Silvina Ocampo, undoubtedly one of the twentieth century’s great masters of the story and the novella. Here are tales of doubles and impostors, angels and demons, a marble statue of a winged horse that speaks, a beautiful seer who writes the autobiography of her own death, a lapdog who records the dreams of an old woman, a suicidal romance, and much else that is incredible, mad, sublime, and delicious. Italo Calvino has written that no other writer “better captures the magic inside everyday rituals, the forbidden or hidden face that our mirrors don’t show us.” Jorge Luis Borges flatly declared, “Silvina Ocampo is one of our best writers. Her stories have no equal in our literature.”
Dark, gothic, fantastic, and grotesque, these haunting stories are among the world’s most individual and finest.
"She lived a little in the shadow of her sister Victoria on the one hand and of her husband Bioy Casares and Borges on the other. She was an extravagant woman when writing her stories, short and crystalline, she was perfect."—Cesar Aira
"Ocampo wrote with fascinated horror of Argentinean petty bourgeois society, whose banality and kitsch settings she used in a masterly way to depict strange, surreal atmospheres sometimes verging on the supernatural."—The Independent
"Few writers have an eye for the small horrors of everyday life; fewer still see the everyday marvelous. Other than Silvina Ocampo, I cannot think of a single writer who, at any time or in any language, has chronicled both with such wise and elegant humor."—Alberto Manguel
"Silvina Ocampo is, together with Borges and Garcia Marquez, the leading writer in Spanish."—Jorge Amado
2011, English
Softcover, 228 pages, 20.5 x 15 cm
Published by
Exact Change / Boston
$35.00 - In stock -
Translated and with an introduction by Simon Watson Taylor.
Paris Peasant (1926) is one of the central works of Surrealism, yet Exact Change's edition is the first U.S. publication of Simon Watson Taylor's authoritative translation, completed after consultations with the author.
Unconventional in form--Aragon consciously avoided recognizable narration or character development--Paris Peasant is, in the author's words, “a mythology of the modern.” The book uses the city of Paris as a stage or framework, and Aragon interweaves his text with images of related ephemera: café menus, maps, inscriptions on monuments and newspaper clippings. A detailed description of a Parisian arcade (nineteenth-century precursor to the mini-mall) and another of the Buttes-Chaumont park, are among the great set pieces within Aragon's swirling prose of philosophy, dream and satire.
André Breton wrote of this work: “no one could have been a more astute detector of the unwonted in all its forms; no one else could have been carried away by such intoxicating reveries about a sort of secret life of the city. . . .”
1979, English
Hardcover (w. dust jacket), 127 pages, 13.5 x 22 cm
1st UK Edition, Out of print title / used / good
Published by
Marion Boyars / London
$190.00 - In stock -
Wonderful first English hardcover edition of George Bataille's Story of the Eye, published by Marion Boyars, London, in 1979. Translated by Joachim Neugroschal with accompanying essays by Susan Sontag and Roland Barthes.
"The caress of the eye over the skin is so utterly, so extraordinarily gentle, and the sensation is so bizarre that it has something of a rooster's horrible crowing." - G.B.
A masterpiece of transgressive, surrealist erotica, Bataille's first novel, published under the pseudonym 'Lord Auch', is still his most notorious work. Called a "metaphysician of evil, Bataille wrote the 1928 novella "Story of the Eye (French: L'histoire de l'œil) as a psychoanalytical task. In this explicit erotic fantasy, the young male narrator and his lovers Simone and Marcelle embark on a sexual quest involving sadism, torture, orgies, madness and defilement, culminating in a final act of transgression. Shocking and sacrilegious, Story of the Eye is the fullest expression of Bataille's obsession with the closeness of sex, violence and death. Yet it is also hallucinogenic in its power, and is one of the erotic classics of the twentieth century.
This edition also includes Susan Sontag's superb study of pornography as art, 'The Pornographic Imagination', as well as Roland Barthes' essay 'The Metaphor of the Eye', which was first published in Bataille's own journal Critique, shortly after Bataille's death in 1962. Barthes' analysis focuses on the centrality of the eye to this series of vignettes, and notices that it is interchangeable with eggs, bulls' testicles and other ovular objects within the narrative. He also traces a second series of liquid metaphors within the text, which flow through tears, cat's milk, egg yolks, frequent urination scenes, blood and semen.
Georges Bataille (1897-1962), French essayist and novelist, was born in Billom, France. He converted to Catholicism, then later to Marxism, and was interested in psychoanalysis and mysticism, forming a secret society dedicated to glorifying human sacrifice. Leading a simple life as the curator of a municipal library, Bataille was involved on the fringes of Surrealism, founding the Surrealist magazine Documents in 1929, and editing the literary review Critique from 1946 until his death.
Good—VG ex-libris copy with light library wear to end blanks, small stamp to colophon in original G—VG dust jacket, no library markings, preserved under mylar wrap. Scarce in this edition with dust jacket present. General reading wear and tanning with age. There is a fierce feminist critique of Susan Sontag's essay in the margins that is an isolated attack Sontag. The rest is left unscathed.
2002, English
Softcover, 544 pages, 19.8 x 13 cm
Published by
Penguin Press / New York
$38.00 - In stock -
The prizewinning, complete and unabridged translation—“the best English-language version we are likely to see for a long time, if ever” (The Guardian)—of a work of unclassifiable genius: the crowning achievement of Portugal’s modern master
Edited, Translated, and with an Introduction by Richard Zenith, the author of the Pulitzer Prize finalist Pessoa: A Biography
Winner of the Calouste Gulbenkian Translation Prize for Portuguese Translation
Fernando Pessoa was many writers in one. He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology, and horoscope. When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner’s words, “gives to Lisbon the haunting spell of Joyce’s Dublin or Kafka’s Prague.”
Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the “autobiography” of Bernardo Soares, one of Pessoa’s alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.
2020, English
Softcover, 192 pages, 13.1 x 20.4 cm
Published by
The New York Review of Books / New York
$38.00 - Out of stock
Anna Kavan is one of the great originals of twentieth-century fiction, comparable to Leonora Carrington and Jean Rhys, a writer whose stories explored the inner world of her imagination and plumbed the depths of her long addiction to heroin. This new selection of Kavan’s stories gathers the best work from across the many decades of her career, including oblique and elegiac tales of breakdown and institutionalization from Asylum Piece (1940), moving evocations of wartime from I Am Lazarus (1945), fantastic and surrealist pieces from A Bright Green Field (1958), and stories of addiction from Julia and the Bazooka (1970). Kavan’s turn to science fiction in her final novel, Ice, is reflected in her late stories, while “Starting a Career,” about a mercenary dealer of state secrets, is published here for the first time.
Kavan experimented throughout her writing career with results that are moving, funny, bizarre, poignant, often unsettling, always unique. Machines in the Head offers American readers the first full overview of the work of a fearless and dazzling literary explorer.
Few novelists match the fierce intensity of her vision.—J.G. Ballard, The Paris Review
Entering this haunting realm, the reader will crave to plunge deeper into her metallic and poetically surreal universe.—Patti Smith
It is the cool lucid light of that unique mind which makes her Anna Kavan . . . There is nothing else like her writing ... She is one of the most distinctive twentieth-century novelists.wind from now—Doris Lessing