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–Sat 11–5
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.
"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.
1970, Japanese
Softcover, 300 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Tenjō Sajiki / Tokyo
$240.00 - In stock -
Very rare copy of Angura (Underground Theatre) issue 3, 1970, the "Dramatic Theory Magazine" published in Tokyo by Shūji Terayama's radical avant-garde theatre company Tenjō Sajiki. With gorgeous graphic design and (Aleister Crowley) cover by graphic designer Heikichi Harata, this issue's special feature is ‘Eros and Theater’, edited by Shūji Terayama and Masahiko Akuta with contributions by Terayama, photographer Hajime Sawatari, writer Taruho Inagaki, director Takahiko Iimura, anthropologist Masao Yamaguchi, playwright Yasunari Takahashi, director and cinematographer Sakumi Hagiwara, film director Nobuhiro Kawanaka, playwright Rio Kishida, and many others. A very unique periodical that not only discusses in-depth the works of Angura theatre, but also the international avant-garde, inviting diverse critical perspectives on performance and anti- and living-theatre, sharing ground with Gutai and Fluxus. Illustrated throughout with drawings, diagrams and photographs, mixing themes of pop, protest, surrealism, and eros, plus texts and scripts in Japanese. A rare printed embodiment of Tenjō Sajiki, Terayama, Tadanori Yokoo and the Japanese underground.
Tenjō Sajiki was a Japanese independent theater troupe co-founded by Shūji Terayama, Kujō Kyōko, Yutaka Higashi, Tadanori Yokoo, and Fumiko Takagi. Led by Japanese avant-garde poet, dramatist, writer, film director, and photographer Shūji Terayama, the prolific group was active between 1967 and 1983 (until Terayama's death). A major phenomenon on the Japanese Angura ("underground") theater scene, the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy characteristic of Terayama's oeuvre. Tenjō Sajiki benefitted greatly from collaborations with a number of prominent artists, including musicians J. A. Seazer and Kan Mikami, and graphic designers Aquirax Uno and Tadanori Yokoo.
Shūji Terayama (1935 — 1983) was a Japanese avant-garde poet, dramatist, writer, film director, and photographer. His works range from radio drama, experimental television, underground (Angura) theatre, countercultural essays, to Japanese New Wave and "expanded" cinema. Terayama is considered one of the most productive and provocative creative artists to come out of Japan, with a wide-reaching influence on many artists from the 1970s onward.
2025, English
Softcover, 384 pages, 23 x 15.24 cm
Published by
Park Street Press / Vermont
$48.00 - In stock -
An unusual collection of writing by and about mystic artist Harry Smith. Explores in depth the occult and mystical side of Smith—his “heaven and earth magic”—focusing on how his varied artistic efforts were part of a comprehensive magical and alchemical practice. Includes unpublished photos of and letters from Smith, rare interviews, one of his unpublished texts, and essays by scholars and friends.
Harry Smith (1923–1991) was a legendary twentieth-century artist, filmmaker, painter, anthropologist, ethnomusicologist, and archivist. Especially well known for his Anthology of American Folk Music, innovative abstract realms, and extraordinary collection of paper airplanes now housed at the Getty Research Institute, Smith also had a deep esoteric and mystical side, with experimentation in magic, Tarot, Kabbalah, and other occult practices. Like other alchemists, Smith’s life mission was to create a unified work from disparate elements, a synthesis of correspondences between seemingly unrelated topics—from music, string figures, and Seminole patterns to the relationship between sound and film imagery.
Presenting the most diverse collection of writings about Harry Smith, this volume explores the far-ranging esoteric themes that run throughout his art and career. The book includes never-before-seen photos, rare interviews, personal letters, and an unpublished text by Harry Smith, The 96 Apparitions of the 96 Alchemical Formulae (1 to 36), as well as personal reminiscences from Smith’s friends and former students. Smith’s groundbreaking mystical wisdom, "heaven and earth magic," and influence as an artist of the extremes leap from the pages in this book, confirming his contribution to art, music, film, and modern alchemy.
“Alchemist, magician, filmmaker, artist, mystic, anthropologist, collector, rebel, eternal omnivore, and 20th-century Renaissance man, Harry Smith was many things to many people, and this outstanding collection of lovingly written testimonies pays tribute to Harry with wit, respect, love, and laser-like precision. It is absolutely impossible to forget any interaction you had with Harry—and the beautiful tales in this remarkably readable and heartfelt book will have you awestruck, laughing out loud, and hungry for more. Perhaps the best collection of writings about one of the most enigmatic and fascinating figures the world has ever known.” ― John Zorn, American composer
“The Occult Harry Smith explores so many fascinating aspects of Harry Smith that have yet to be explored! Through a panoply of voices gathered in this volume, we get firsthand accounts and informed explorations that delve deep into the magician and trickster Harry Smith. Essential reading for anyone who wants to know more about this enigmatic and influential figure who lived his life on the edge and for his art.” ― Rani Singh, director of the Harry Smith Archives
“Through his alchemical metaphors and deep appreciation for cultural diversity, Smith’s work continues to influence new generations eager to learn more about his gentle blurring of the boundaries between art and magic. The Occult Harry Smith is a highly inspiring anthology and an invaluable glimpse into the timeless cosmic prism that was the mind of this polymath magus.” ― Carl Abrahamsson, author of Meetings with Remarkable Magicians and Occulture
“The world is blessed unknown when a Harry Smith enters it, and we are fortunate that enough individuals notice, to record his presence among them. One can only gain—and gain much—from reading this prismatic collection of fascinating views on the polymathic shaman of the city. Smith: all profit with no risk, other than the effect of enlightenment, a mere byproduct of gazing at his mighty works.”―Tobias Churton, author of Aleister Crowley in England, Aleister Crowley in Paris, and Aleister Crowley...
“This invaluable collection comes at the right time, as interest in Harry Smith’s life expands and his manifold work reaches new and ever-growing audiences. Offered up by the people who knew him best, this volume provides new and nuanced perspectives on Harry Smith: the man, the polymath, the sage."―John Klacsmann, archivist at Anthology Film Archives
“The Occult Harry Smith is a long overdue deep dive into this particular aspect of a wonderful, remarkable, and insufferable genius and polymath. In addition, by bringing together the memories and observations of an impressive, indeed close-to-definitive, collection of acolytes, scholars, and friends (not to mention photographic treasures and unpublished texts), Peter Valente presents an unexpected delight in this wide-ranging compendium—endlessly illuminating (as was Harry)—a posthumous banquet.”―Simon Pettet, poet and author of Hearth, As A Bee, and More Winnowed Fragments
About the Author
Harry Smith (1923-1991) was a filmmaker, painter, anthropologist, alchemist, and artist of the twentieth century.
Peter Valente is a writer, editor, translator, and filmmaker. He was born in Salerno, Italy, in 1970 and grew up in New Jersey. The author of 12 books and the translator of several influential works, including Gérard de Nerval’s The Illuminated, he lives in North Carolina.
1979, Japanese
Softcover, 240 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / very good
Published by
Fool's Mate / Tokyo
$80.00 - In stock -
Rare "Special Stock" compendium book by the world's finest "Euro Rock Magazine", Fool's Mate, from Japan. In the 1970's—1980's, Fool's Mate (named after the 1971 Peter Hammill LP), edited by Masashi Kitamura with regular contributions by Masami Akita (Merzbow) and many other heads, was a vital conduit between emerging and metamorphosing avant-garde music cultures in Europe (Progressive Rock, Art Rock, Free Music, Electronic, Cosmic, Psychedelic Folk, Avant Pop, Rock in Opposition, Post Punk, Industrial, etc.) and Japan. No doubt responsible for the resonance of experimental contemporary music there during that period through to today, each issue of Fool's Mate during these early years was packed cover-to-cover with exclusive interviews with the artists, rare photographs and graphics, thematic genre/artist/label/artistic movement features, in-depth profiles/discographies/family-trees, catalogues, lyrics, letters, collage art, record, book, and live reviews, columns and an endless stream of concert and import/record store/label/venue/cafe adverts, all presented in a perfectly obsessive fanzine aesthetic manner, cut 'n' pasted across many paper stocks. The Americas and other realms, including new directions in Japanese alternative music, are all covered alongside their European counterparts, with many issues exploring key artistic and theoretical influences, such as Symbolism, Dadaism, Surrealism, Eros, Futurism, etc.
This special three issue collection combines Vol. 4 "Fantasy" + Vol. 6 "Eros" + Vol. 7 "Avant-Garde". Says it all really. Incredible in-depth, encyclopaedic features on Derek Bailey (full biography and discograohy), British avant-garde/free music/jazz/avant-rock/R.I.O./Canterbury (Bailey, Henry Cow, Daevid Allen/Gong, Lol Coxhill, Soft Machine, Company, Slapp Happy, Keith Tippett, National Health, Evan Parker, Art Bears, King Crimson, Hatfield and The North, Kew Rhone, National Health, Robert Wyatt, Spontaneous Music Ensemble, Incus Records, Ogun Records, etc.), R.I.O. expanded (Univers Zero, Art Zoyd, ZNR, The Residents, Albert Marcoeur, Stormy Six, Etron Fou Leloublan, Samla Mammas Manna, etc.), plus features and articles on Robert Fripp, Atoll, Annette Peacock, Italian Prog, Gloria Mundi, Peter Hammill, Ashra, Brian Eno, Tony Banks, Van Der Graaf, Genesis, Vangelis, Peter Gabriel, New Spanish Rock, and much more. Highly recommended to any fan of such things.
Very Good copy.
2017, English
Softcover, 578 pages, 21.59 x 13.97 cm
Published by
Tracy R. Twyman / US
$150.00 - Out of stock
BOW DOWN TO THE NEWBORN SUN
Can a perverted sex magic ritual, performed in an ancient temple in the heart of modern London, destroy the very foundations of both Heaven and Earth?
London: March 2018. Pamela Auger has received an invitation to give a lecture at a prestigious private club regarding her arcane historical research into the mysteries of the Knights Templar. But as she is about to learn, when opportunity knocks, it is best to ask for ID before opening the door.
TRIGGER WARNING: This book contains scenes of rape, torture, and murder of people, including children, that any sane person will find disturbing. Note: While several of the characters in this story have certain aspects based on known, powerful figures in the modern world, I make no claim that these people are involved in any nefarious deeds such as those depicted here, nor is it my intention to malign them. These characteristics were borrowed for artistic purposes only.
2015, English
Hardcover (w. dust jacket), 628 pages, 20.5 x 13 cm
Published by
Tracy R. Twyman / US
$110.00 - In stock -
For seven centuries, the enigma of Baphomet has mystified both scholars and the general public. Did the Knights Templar really worship a demonic idol of that name? If so, what does the word mean? What is the origin of this figure? What was the nature of the rituals that the Templars performed in secret? What were their covert beliefs? Why, if the Templars initially described their idol as a mummified severed head, is this figure now represented as a hermaphrodite human with the head of a goat?
Authors Tracy R. Twyman and Alexander Rivera have dived head-first into the bottomless abyss of this mystery and returned with some astounding wisdom to share. Here for the first time they reveal the genesis of these symbols, showing how they relate to the Witches' Sabbath, traditions of Sufi Islam, alchemy, Gnosticism, cabalism, the teachings of Hermes Trismegistus, and so much more.
Learn why the Templars and their beloved severed head are frequently associated with John the Baptist, and how this connects to his student, Simon Magus. Discover the real facts about things like the Chinon Parchment, The Book of the Baptism of Fire, the Templar Abraxas seals, and newly-found documents which claim that the Templars discovered the real Temple of Solomon during a secret trip to Mecca.
Join Twyman and Rivera on this exciting adventure into the unknown. Immerse yourself in this knowledge, if your heart has the strength. It is certain that your mind will never be the same.
1975, English
Softcover, 288 pages, 18 x 11 cm
1st Edition, Out of print title / used / very good
Published by
Tandem / London
$65.00 - Out of stock
First 1975 paperback edition.
"This book is unique in the literature of witchcraft. Many volumes record the tortures, confessions and executions of the witch trials; few examine the origin and beliefs of this remarkable subterranean cult which has survived almost unchanged through the centuries.
Michael Harrison, unrivalled in the field of historical detection, gives convincing answers to questions which other writers on witchcraft have persistently dodged—What part did Man's earliest organised religion, the Old Fertility Cult, play in the development of witchcraft? Where did the evil side of the Fertility Cult- Diabolism - evolve, and how and when did it enter Europe?
But the most important revelation in this book is the author's achievement in translating the ancient 'language of the covens', the 'gibberish' of the witch-trial records, the lost language whose identification holds the key to the very Roots of Witchcraft.
"A wide-ranging work which has achieved a remarkable breakthrough".—Yorkshire Evening Press
"...profound chronology of the cult from pre-history, through Druidism, to Salem and the present day".—Evening News
VG copy with light general wear.
1999, Japanese
Softcover, 176 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atelier Peyotl / Tokyo
$25.00 - Out of stock
"České Magické umění" Special Feature Issue of cult Japanese underground magazine Yaso, published in 1999, edited by Yuichi Konno and Atelier Peyotl (publishers of Night Vision/Yaso/Peyotl/Wave/Silvester Club...). Illustrated with texts in Japanese that look at the theme of Czech Magical Art with a heavy emphasis on animation, but also puppetry, children's literature, theatre, surrealism, film, tracing the region's rich history of alchemy, mythology and fairy tales. Featuring Jiří Trnka, Karel Zeman, Břetislav Pojar, Vladimír Jiránek, Lubomír Beneš, Jiří Barta, Václav Mergl, Jan Švankmajer, Kihachirō Kawamoto, Oldřich Lipský, Petr Matásek, Jindřich Štyrský, Toyen, Noriyuki Sawa, Jiří Kolář, and many more.
Very Good copy.
1972, Japanese
Softcover, 250 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Misaki Shobo / Tokyo
$70.00 - In stock -
Erotica April 1972, Japan's erotic magazine for bibliophiles, published in the 1960s—1970s by Misaki Bookstore. Each issue densely packed with illustrations, articles, news, and feature stories around the universe of Eros from around the world during a time of great sexual revolution. Covering all manner of sexual customs and subject matter from the arts and literature, film and manga, philosophy and radical politics, Erotica was Japan's leading erotic academic journal, featuring, amongst it's heavy historical and contemporary papers, the cutting-edge of Japanese and international erotic artists, from Hans Bellmer to Toshio Saeki.
Erotica April 1972 features the artwork of Toshio Saeki, Kyozo Hayashi, Koaku Yukio, Kaname Ozuma, "Alone" by Japanese photographer Takumi Uchida, Meiji sexual history, erotica by poet and painter Mitsuharu Kaneko, European erotic cinema, and much more.
Very Good copy, light wear.
1970, Japanese
Softcover, 250 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Misaki Shobo / Tokyo
$70.00 - In stock -
Erotica July 1970, Japan's erotic magazine for bibliophiles, published in the 1960s—1970s by Misaki Bookstore. Each issue densely packed with illustrations, articles, news, and feature stories around the universe of Eros from around the world during a time of great sexual revolution. Covering all manner of sexual customs and subject matter from the arts and literature, film and manga, philosophy and radical politics, Erotica was Japan's leading erotic academic journal, featuring, amongst it's heavy historical and contemporary papers, the cutting-edge of Japanese and international erotic artists, from Hans Bellmer to Toshio Saeki.
Erotica July 1970 features the artwork of Toshio Saeki, Haruo Shinozaki, Masayuki Kitamura, Tomoe Shibaoka, "Pornology" by Japanese photographer Toyohiko Yasui, Swedish erotica, European erotic cinema, Pleasure Machines/Mechanical Sex featuring artworks by Tomi Ungerer and science fiction with illustrations by Yasutaka Tsutsui, the psychology of premajure ejaculation, and much more.
Very Good copy, light wear.
1970, Japanese
Softcover, 250 pages, 21 x 14.8 cm
1st Edition, Out of print title / used / very good
Published by
Misaki Shobo / Tokyo
$50.00 - In stock -
Erotica February 1970, Japan's erotic magazine for bibliophiles, published in the 1960s—1970s by Misaki Bookstore. Each issue densely packed with illustrations, articles, news, and feature stories around the universe of Eros from around the world during a time of great sexual revolution. Covering all manner of sexual customs and subject matter from the arts and literature, film and manga, philosophy and radical politics, Erotica was Japan's leading erotic academic journal, featuring, amongst it's heavy historical and contemporary papers, the cutting-edge of Japanese and international erotic artists, from Hans Bellmer to Toshio Saeki.
Erotica February 1970 features the artwork of Hans Bellmer, Aoi Fujimoto, George Grosz, and Haruo Shinozaki, amongst many others, a "blue film encyclopedia", European erotic film, the Temptation of Saint Anthony in the visual arts, and much more.
Very Good copy, light wear.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$70.00 - In stock -
Rare first May 1971 (w. Ken Katayama cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
This scarce first issue with incredible cover by Japanese illustrator Ken Katayama, features work/contributions by author Izumi Suzuki, film director Michio Okabe, artist Genpei Akasegawa, critic Junzo Ishiko, author Boris Vian, film director Eiichi Uchida, film critic Jin'ichi Uekusa, manga artist Shotaro Ishinomori, author Mieko Kanai, music critic Masaaki Hiraoka, artist Koichi Tanigawa, manga artist Shigeru Sugiura, graphic designer Mad Amano, doll artist Shimon Yotsuya, illustrator G. Akechi, art critic Junzo Ishiko, art critic Yoshida Yoshie, film director Toshio Matsumoto, graphic artist Keiichi Tanaami, author Koji Suzuki, artist Toshio Saeki, manga artist Shigeru Mizuki, manga artist Mori Masaki, manga artist Mitsuhiko Yoshida, artist Tsunehisa Kimura, playwright Jūrō Kara, and many more.
1971, Japanese
Softcover (staple-bound), 160 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$65.00 - In stock -
June 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
August 1971 (w. Hiroshi Nakamura cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
September 1971 (w. Seiichi Hayashi cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$65.00 - In stock -
November 1971 (w. Kikuji Yamashita cover) issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
January 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$50.00 - In stock -
October 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1971, Japanese
Softcover (staple-bound), 156 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Lemon Inc. / Tokyo
$45.00 - In stock -
April 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1972, Japanese
Softcover, 122 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / average
Published by
Lemon Inc. / Tokyo
$45.00 - In stock -
May 1972 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1972, Japanese
Softcover, 122 pages, 21.5 x 15 cm
1st Edition, Out of print title / used / good
Published by
Lemon Inc. / Tokyo
$45.00 - In stock -
August 1971 issue of legendary Japanese underground arts periodical, Black Magazine (or Black Notebook), a taboo-shattering vehicle of the 1970s subculture in Tokyo. A magazine like no-other, each issue, "a paradise of 1970's heretical culture", was a who's who of non-conformity, introducing a new wave of illustrators, painters, doll-makers and photographers, "taboo" sexuality and fetish culture, avant-garde comics, sadistic literature, radical criticism, queer poetry, activism, black humour, underground film and theatre, and all manner of transgressive, esoteric and erotic material, new and historical. Black Magazine featured the work of Yukio Mishima, Toshio Saeki, Izumi Suzuki, Simon Yotsuya, Shūji Terayama, Ken Katayama, Nobuyoshi Araki, Genpei Akasegawa, Keiichi Tanaami, Kikuji Yamashita, Aoi Fujimoto, Tadanori Yokoo, Hiroshi Nakamura, and so many others. It was also where Japanese photographer Satomi Nihongi's Tokyo Transgender photographs were first printed. Black Magazine was heavy with queer and trans content, and Nihongi's "The Most Beautifuls" was a regular photo-feature in its pages. A lot of great things started in the pages of this unique magazine. A highly recommended publication!
1998, English
Softcover, 352 pages, 25 x 18 cm
1st Edition, Out of print title / used / fine
Published by
University of Minnesota Press / Minnesota
$35.00 - Out of stock
This investigation of power and the body is a brilliantly original account of the nature of force as it functions in religious rituals, sorcery, political relations, and other social domains. Laying the foundation for an "anthropology of forces", it is crucial reading for anyone interested in how bodies and power circulate in a range of human contexts and cultures.
For Jose Gil the body, with its capacity to translate forces into signs, is the source of power. Analyzing the language of mime and gestures, comparing magical cures to psychiatric ones, contrasting the flayed body of Kafka's "In the Penal Colony" with the anatomical body in Vesalius's De Humani Corporis Fabrica, he develops a typology of metamorphoses of the body as they correspond to systems of signs.
A major intervention that marks the first appearance of Gil's work in English, Metamorphoses of the Body gives us an entirely new way of looking at relationships between bodies, forces, politics, and people.
"Steeped in the classic issues of political anthropology through close readings of the sources that have defined them, Gil provides an impressive synthesis of theories of power in the transition from tribal to modern societies. After all the recent baroque theoretical attention focused on the body, Gil reminds us how embedded this concern has been in ideologies of kingship and the emergence of the state."—George E. Marcus, Rice University
"In its heady mix of ethnography and philosophy, Gil's intriguing and highly unusual book makes you wonder why theorizing the meaning of the institutions of so-called primitive societies has virtually disappeared-and what such a terrible deficit implies for critical inquiry as a whole. Postmodernizing the legacy of a great lineage, including Mauss, Lévi-Strauss, Sahlins, Clastres, Deleuze and Guattari, Gil makes you realize all over again why primitive society is here to stay."—Michael Taussig, Columbia University
"Metamorphoses of the Body is a brilliant and original analysis of the political and ideological status of the body as it relates to the empowerment and the constitution of the modern state. For Gil, if one is vigilant, one realizes that at the very heart of the problem of the nature of power, one is always confronted with the primeval power of the human body, with its intrinsic, indomitable energy."—Réda Bensmaia, Brown University
José Gil (b. 1939 Muecate, Portuguese Mozambique) is a Portuguese philosopher.
Very Good - Near Fine copy.
1998, Japanese
Softcover (w. dust jacket), 204 pages, 22 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Isshusha / Japan
$45.00 - Out of stock
Catalogue and historical study by renowned Japanese fairy scholar Kimie Imura, published in Japan to accompany a travelling Japanese exhibition in 1998. Profusely illustrated throughout in full-colour, the book traces the history of the fairy in folk-lore and the arts, from Celtic mythology and Arthurian legend, to the danger of their depiction being rejected by Christianity as the descendants of pagan gods, through the Elizabethan era in the 16th century, where they regained their place in the world of literature and theatre, through the adoration of the 19th century Victorian period and future generations of artists in Japan all weaving the fairy legend into works of painting, music, ballet, literature, book illustration, costume, applied arts, sculpture, and much more. Features the work of George Cruickshank, Honor Charlotte Appleton, Arthur Rackham, Amelia Murray, Edmund Dulac, Joseph Payton, John Simmons, Joseph Zevan, The Doyle brothers, C. Wilhelm, Shigeru Mizuki, Yoshitaka Amano, Itsuko Azuma, Suzuko Makino, Akira Uno, Yukio Satsukime, Yuki Yuuki, Akiko Iwakiri, and many more.
Very Good—Near Fine copy in VG dust jacket with a few ballpoint marks to lower back.
2006, English
Softcover, 272 pages, 27.1 x 21.4 cm
Published by
Hayward Gallery Publishing / London
$75.00 - In stock -
An exploration of the unsettling collisions of art and culture in Georges Bataille's revolutionary journal and a new consideration of twentieth-century masterpieces by Picasso, Miro, Dali, and others against the canvas of their renegade times.
In the Paris art world of the 1920s, Georges Bataille and his journal DOCUMENTS represented a dissident branch of surrealism. Bataille—poet, philosopher, writer, and self-styled "enemy within" surrealism—used DOCUMENTS to put art into violent confrontation with popular culture, ethnography, film, and archaeology. Undercover Surrealism, taking the visual richness of DOCUMENTS as its starting point, recovers the explosive and vital intellectual context of works by Picasso, Miro, Dali, Giacometti, and others in 1920s Paris.
Profusely illustrated (featuring 180 colour images) and filled with valuable English translations of original French texts from DOCUMENTS accompanied by essays and shorter descriptive texts, Undercover Surrealism recreates and recontextualizes Bataille's still unsettling approach to culture. Putting Picasso's Three Dancers back into its original context of sex, sacrifice, and violence, for example, then juxtaposing it with images of gang wars, tribal masks, voodoo ritual, Hollywood musicals, and jazz, makes the urgency and excitement of Bataille's radical ideas startlingly vivid to a twenty-first-century reader.
2023, English
Softcover, 600 pages, 21.2 x 15.2 cm
Published by
Strange Attractor / London
$60.00 - Out of stock
Core members of the legendary British experimental band Coil tell its story in the present-tense, as events unfold across their twenty-year history.
Between 1983 and 2004 the legendary British experimental band Coil established themselves as shape-shifting doyens of esoteric music whose influence has grown spectacularly in the years since their untimely end. With music that could be dark, queer, and difficult, but often retained a warped pop sensibility, Coil's albums were multi-faceted repositories of esoteric knowledge, lysergic wisdom and acerbic humor. In Everything Keeps Dissolving, core members John Balance and Peter Christopherson tell Coil's story in the present-tense, and from their personal perspectives, as events unfold across their twenty-year history.
Accompanied by their various collaborators, Coil describe the fertile eruption of ideas, inspirations, and stray tangents that informed their lyrical and musical visions-as well as those dead paths and castoff concepts that didn't take root. No only a worm's eye view of Coil, these interviews provide insight into the late twentieth century's evolving British cultural underground as channeled through two of its most astutely mercurial minds.