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:
CLOSED FOR SUMMER.
RE-OPENING 01.02.24
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
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 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.
Return Policy
All sales are final. We do accept returns (for refund, 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.
2024, English
Softcover, 96 pages, 20 x 14 cm
Published by
Semiotext(e) / Los Angeles
$34.00 - In stock -
Wild new adventures in word-infatuated flânerie from a celebrated literary provocateur.
This book of thirty-six poetic bulletins by the humiliation-advice-giver Wayne Koestenbaum will teach you how to cruise, how to dream, how to decode a crowded consciousness, how to find nuggets of satisfaction in unaccustomed corners, and how to sew a language glove roomy enough to contain materials gathered while meandering. Koestenbaum wrote many of these poems while walking around New York City. He'd jot down phrases in a notebook or dictate them into his phone. At home, he'd incorporate these fragmented gleanings into overflowing quasi sonnets. Therefore each poem functions as a coded diary entry, including specific references to sidewalk events and peripatetic perceptions. Flirting, remembering, eavesdropping, gazing, squeezing, sequestering: Koestenbaum invents a novel way to cram dirty liberty into the tight yet commodious space of the sonnet, a fourteen-lined cruise ship that contains ample suites for behavior modification, libidinal experiment, aura-filled memory orgies, psychedelic Bildungsromane, lap dissolves, archival plunges, and other mental saunterings that conjure the unlikely marriage of Kenneth Anger and Marianne Moore. Carnal pudding, anyone? These engorged lyrics don't rhyme; and though each builds on a carapace of fourteen lines, many of the lines spawn additional, indented tributaries, like hoop earrings dangling from the stanzas' lobes. Koestenbaum's poems are comic, ribald, compressed, symphonic. They take liberties with ordinary language, and open up new pockets for sensation in the sorrowing overcoat of the “now.” Imagine: the training wheels have been removed from poetry's bicycle, and the wheeling flâneur is finally allowed a word pie equal to fantasy's appetite. Stubble—a libidinal detail—matters when you're stranded on the archipelago of your most unsanctioned yet tenaciously harbored impulses.
2024, English
Softcover, 320 pages, 22.61 x 15.19 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
"It's kind of a book of utterances ... it's beautiful and I love it."—Kristen Stewart
I am beginning to realize that taking the self out of our essays is a form of repression. Taking the self out feels like obeying a gag order-pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature.
On the last day of December 2009, Kate Zambreno, then an unpublished writer, began a blog called "Frances Farmer Is My Sister," arising from her obsession with literary modernism and her recent transplantation to Akron, Ohio, where her partner held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants and melancholy portraits of the fates of the modernist "wives and mistresses," reclaiming the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald- writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community of writers and devised a new feminist discourse of writing in the margins and developing an alternative canon.
In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it-she traces the genesis of a cultural template that consistently exiles feminine experience to the realm of the "minor," and diagnoses women for transgressing social bounds. "ANXIETY- When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." With Heroines, Zambreno provided a model for a newly subjectivized criticism, prefiguring many group biographies and forms of autotheory and hybrid memoirs that were to come in the years to follow.
A book that has become its own canon, Heroines was named one of the "50 Books that define the past 5 Years in Literature" by Flavorwire, an "Essential Feminist Manifesto" by Dazed, and one of the "50 Greatest Books by Women" in Buzzfeed.
1977, English
Softcover, 192 pages, 21.5 x 15.5 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$200.00 - Out of stock
Rare copy of this remarkable issue of the original Semiotext(e) journal, published and edited by Sylvère Lotringer between 1974—1985, with later book-length issues appearing in the 1990s. This key issue, Anti-Oedipus: From Psychoanalysis to Schizopolitics, was published hot on the heels of the publication of Deleuze and Guattari's seminal "Anti-Oedipus: Capitalism and Schizophrenia", published by Viking in 1977. This issue of the journal explores the issues raised by Deleuze and Guattari, whilst searching for their practical applications. Features major contributions by Sylvère Lotringer, Gilles Deleuze, Felix Guattari, Jean-François Lyotard, Guy Hocquenghem, Antonin Artaud, Jacques Donzelot, John Rajchman, et al.
Founded in 1974, Semiotext(e) began as a journal that emerged from a semiotics reading group led by Sylvère Lotringer at the Columbia University philosophy department. Initially, the magazine was devoted to readings of thinkers like Nietzsche and Saussure. In 1978, Lotringer and his collaborators published a special issue, Schizo-Culture, in the wake of a conference of the same name he had organized two years before at Columbia University. The magazine brought together artists and thinkers such as Gilles Deleuze, Kathy Acker, John Cage, Michel Foucault, Jack Smith, Martine Barrat and Lee Breuer. Schizo-Culture brought out connections between high theory and underground culture that had not yet been made, and forged the "high/low" aesthetic that remains central to the Semiotext(e) project.
Very Good copy with some wear and usual tanning to the spine, raw paper stock edges. Spine and binding undamaged.
2024, English
Softcover, 216 pages, 15.4 x 23 cm
Published by
Semiotext(e) / Los Angeles
$34.00 - In stock -
The early essays of the most influential French film critic of the post-68 period.
The Footlights (1983) was the first book by Serge Daney, a film critic admired in his lifetime by Gilles Deleuze and Jean-Luc Godard and recognized since his premature death in 1992 as the most important French writer on film after André Bazin. The Footlights stands apart in Daney's body of work as the only collection of his essays he conceived of as a book, organizing his seminal pieces from Cahiers du Cinéma by theme and linking them with original texts that reflect in a personal voice on the doubts, battles, and illuminations of a generation of film lovers inspired by the explorations of Lacanian theory and roused by the collective aspirations of Maoist dogma. In pieces on fellow travelers Godard and Straub/Huillet, on films ranging from Pasolini's Saló to Spielberg's Jaws, and on the difference between film language and television discourse, Daney offers a definitive portrait of an era of radical hope and disappointment.
Translated by Nicholas Elliott
2002, English
Softcover, 144 pages, 22.9 x 11.5 cm
Published by
Semiotext(e) / Los Angeles
$30.00 - In stock -
May '68 in France expressed a fundamental version of freedom: not freedom to succeed, but freedom to revolt. Political revolutions ultimately betray revolt because they cease to question themselves. Revolt, as I understand it—psychic revolt, analytic revolt, artistic revolt--refers to a permanent state of questioning, of transformations, an endless probing of appearances. In this book, Julia Kristeva extends the definition of revolt beyond politics per se. Kristeva sees revolt as a state of permanent questioning and transformation, of change that characterizes psychic life and, in the best cases, art. For her, revolt is not simply about rejection and destruction—it is a necessary process of renewal and regeneration.
Julia Kristeva is a professor of linguistics at the Université de Paris VII. She is the author of many highly respected books and a practicing psychoanalyst.
1996, English
Softcover, 280 pages, 17.7 x 11.2 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$35.00 - Out of stock
Scarce first 1996 edition of Soft Subversions by Félix Guattari, published by Semiotext(e) in their Native Agents book series. Edited by Sylvère Lotringer, this collection of Felix Guattari's essays, lectures, and interviews traces the militant anti-psychiatrist and theorist's thought and activity throughout the 1980s ("the winter years"). Concepts such as "micropolitics," "schizoanalysis," and "becoming-woman" open up new horizons for political and creative resistance in the "postmedia era." Guattari's energetic analyses of art, cinema, youth culture, economics, and power formations introduce a radically inventive thought process engaged in liberating subjectivity from the standardizing and homogenizing processes of global capitalism.
Very Good copy.
2010, English
Softcover, 256 pages, 15.5 x 23 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
"'I always write completely nude, and I don't wash before,' writes Tony Duvert, whose explosive Diary of an Innocent is part tract, part porn, part theory, part fiction, and (I presume) part fact. Certain pages of Gide, Genet, Hocquenghem and certain scenes from Bresson or Pasolini suggest themselves as mild precursors, but Duvert goes further, filthier, faster. Only the Marquis de Sade outpaces him. Must we burn Duvert? I pray not. This book, troubling and memorable, interrogates with delicate strokes the damaged state of contemporary sexual relations."—Wayne Koestenbaum
Now in English, Duvert's shocking novel about a sexual adventurer among a tribe of adolescent boys in Northern Africa. Translated with introduction by Bruce Benderson.
"I'd find it amusing if, in a few centuries, the only thing that our descendents condescend to retain of our artistic production, the only thing in which they'll see worlds to admire, to penetrate, the only thing that they'll show off as precious in immense museums after having flushed down the toilet all our acknowledged masterpieces, the only thing that will give them nostalgia and love for us will be our porn."—from Diary of an Innocent
Exiled from the prestigious French literary circles that had adored him in the 1970s, novelist Tony Duvert's life ended in anonymity. In 2008, nineteen years after his last book was published, Duvert's lifeless body was discovered in the small village of Thoré-la-Rochette, where he had been living a life of total seclusion.
Now for the first time, Duvert's most highly crafted novel is available in English. Poetic, brutally frank, and outright shocking, Diary of an Innocent recounts the risky experiences of a sexual adventurer among a tribe of adolescent boys in an imaginary setting that suggests North Africa. More reverie than narrative, Duvert's Diary presents a cascading series of portraits of the narrator's adolescent sexual partners and their culture, and ends with a fanciful yet rigorous construction of a reverse world in which marginal sexualities have become the norm.
Written with gusto and infused with a luminous bitterness, this novel is more unsettling to readers today than it was to its first audience when published in French in 1976. In his openly declared war on society, Duvert presents a worldview that offers no easy moral code and no false narrative solution of redemption. And yet no reader will remain untouched by the book's dazzling language, stinging wit, devotion to matters of the heart, and terse condemnation of today's society.
"Diary of an Innocent by Tony Duvert is a truly scandalous work, but first and foremost a work of great depth and freedom.... A book that reinvents the seduction of literature."—Abdellah Taïa, author of Salvation Army
Tony Duvert (1945–2008) is the author of fourteen books of fiction and nonfiction. His fifth novel, Strange Landscape, won the prestigious Prix Médicis in 1973. Other books translated into English include the novels When Jonathan Died and Diary of an Innocent as well as the essay Good Sex Illustrated, the last two both available from Semiotext(e).
Novelist, translator, and essayist Bruce Benderson is the author of a memoir, The Romanian: Story of an Obsession, winner of France's prestigious Prix de Flore in French translation, and Pacific Agony (Semiotext(e), 2009.)
2017, English
Softcover, 304 pages, 15.5 x 23 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
A forgotten gem of French literature, Duvert's version of The Lord of the Flies: an indictment against the violence embedded in a middle-class community. Translated by Purdey Lord Kreiden and Michael Thomas Taren.
Tony Duvert's novel Atlantic Island (originally published in French in 1979) takes place in the soul-crushing suburbs of a remote island off the coast of France. It is told through the shifting perspectives of a group of pubescent and prepubescent boys, ages seven to fourteen, who gather together at night in secret to carry out a series of burglaries throughout their neighborhood. The boys vandalize living rooms and kitchens and make off with, for the most part, petty objects of no value. Their exploits leave the adult community perplexed and outraged, especially when a death occurs and the stakes grow more serious.
Duvert's portrayal of adult life on this Atlantic Island is savage to the point of satire, but the boys and their thieving and sexuality are explored with sympathy. A novel on the loneliness of childhood and the solitude induced by geographical space, it is also an empathetic and generous homage to youth, a crime novel without suspense, and an unsettling fairytale for adults.
Atlantic Island today is a forgotten gem of French literature: Duvert's own version of The Lord of the Flies, it is attentive to details and precise in its depiction of French mores and language. An indictment against the violence embedded in a middle-class community, it is also a love letter to childhood, incorporating the heroic vistas in which a child needs only a fertile imagination to become the secret hero of his or her own life.
Tony Duvert (1945–2008) is the author of fourteen books of fiction and nonfiction. His fifth novel, Strange Landscape, won the prestigious Prix Médicis in 1973. Other books translated into English include the novels When Jonathan Died and Diary of an Innocent as well as the essay Good Sex Illustrated, the last two both available from Semiotext(e).
2017, English
Softcover, 152 pages, 11.4 x 17.8 cm
Published by
Semiotext(e) / Los Angeles
The MIT Press / Massachusetts
$34.00 - Out of stock
Why am I writing this book? Because I share Gramsci’s anxiety: “The old are dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appear.” The fascist monster, born in the entrails of Western modernity. Of course, the West is not what it used to be. Hence my question: what can we offer white people in exchange for their decline and for the wars that will ensue? There is only one answer: peace. There is only one way: revolutionary love.
—from Whites, Jews, and Us
With Whites, Jews, and Us, Houria Bouteldja launches a scathing critique of the European Left from an indigenous anti-colonial perspective, reflecting on Frantz Fanon’s political legacy, the republican pact, the Shoah, the creation of Israel, feminism, and the fate of postcolonial immigration in the West in the age of rising anti-immigrant populism. Drawing upon such prominent voices as James Baldwin, Malcolm X, and Jean Genet, she issues a polemical call for a militant anti-racism grounded in the concept of revolutionary love.
Such love will not come without significant discomfort for whites, and without necessary provocation. Bouteldja challenges widespread assumptions among the Left in the United States and Europe—that anti-Semitism plays any role in Arab–Israeli conflicts, for example, or that philo-Semitism doesn’t in itself embody an oppressive position; that feminism or postcolonialist theory is free of colonialism; that integrationalism is a solution rather than a problem; that humanism can be against racism when its very function is to support the political-ideological apparatus that Bouteldja names the “white immune system.”
At this transitional moment in the history of the West—which is to say, at the moment of its decline—Bouteldja offers a call for political unity that demands the recognition that whiteness is not a genetic question: it is a matter of power, and it is high time to dismantle it.
Foreword by Cornel West
Translated by Rachel Valinsky
Houria Bouteldja is a French-Algerian political activist and writer focusing on anti-racism, anti-imperialism, and Islamophobia. She serves as spokesperson for the Parti des Indigènes de la République (Party of the Indigenous of the Republic).
1997, English
Softcover, 276 pages, 17.7 x 11.2 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$190.00 - In stock -
Scarce first 1997 edition of Chris Kraus' modern cult classic I Love Dick, published by Semiotext(e) in their Native Agents book series. Blurring the lines of fiction, essay and memoir, Chris Kraus's novel was a literary sensation when it was first published in 1997.
"Oh Dick, I want to be an intellectual like you."
In I Love Dick, published in 1997, Chris Kraus, author of Aliens & Anorexia, Torpor, and Video Green, boldly tore away the veil that separates fiction from reality and privacy from self-expression. It’s no wonder that I Love Dick instantly elicited violent controversies and attracted a host of passionate admirers.
The story is gripping enough: in 1994 a married, failed independent filmmaker, turning forty, falls in love with a well-known theorist and endeavors to seduce him with the help of her husband. But when the theorist refuses to answer her letters, the husband and wife continue the correspondence for each other instead, imagining the fling the wife wishes to have with Dick. What follows is a breathless pursuit that takes the woman across America and away from her husband—and far beyond her original infatuation into a discovery of the transformative power of first person narrative.
I Love Dick is a manifesto for a new kind of feminist who isn’t afraid to burn through her own narcissism in order to assume responsibility for herself and for all the injustice in world—and it’s a book you won’t put down until the author’s final, heroic acts of self-revelation and transformation.
Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her “one of the most subversive voices in American fiction.” Her work has been praised for its damning intelligence, vulnerability and dazzling speed.
Very Good copy.
2023, English
Softcover, 440 pages, 20.2 x 13.6 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
Published in 1999 and awarded that year's Prix de Flore, Nicolas Pages marks a departure from the Sadean preoccupations of Guillaume Dustan's first three novels; it is, in essence, a love story. Inspired by a failed romance with the Swiss artist-writer Nicolas Pages and collaging texts that Dustan initially produced for a wide variety of other occasions (magazine articles, short stories, project notes, shopping lists, and more), the "auto-/bio-/porno-graphic" prose of Nicolas Pages is by turns trashy and encyclopedic, corporeal and philosophical. Here Dustan inaugurates a "gay literature" that is no longer painful or shameful, but epicurean and cheerful without ever lapsing into idealism. A vibrant plea for gay rights and a tapestried text that is more than the sum of its many styles, Nicolas Pages is a call to explore the body, sexuality, and writing in all their variety; it is a hymn to life, humanity, pleasure, and desire.
Sex, sex, sex, sex, sex. Politics, despair, drugs, music, joy. Dustan remains the sexiest and most radical writer of the late years of the AIDS epidemic in France after Hervé Guibert. From the almost cognitive experience of anal fucking to the critique of social and family institutions, Dustan uses queer sexuality and writing to extract himself from the bourgeois context in which he evolved until his early thirties (he was a judge until he discovered he was HIV positive) to overcome the shame of being outcast as sick and to discover the joy of being alive. Intimate and ferocious at the same time, dazzling and unapologetic. Porn reaches grace and beauty. Dustan was my first editor and my master. Don't miss his books.—Paul B. Preciado, author of An Apartment on Uranus
Guillaume Dustan has the novel straddle his crotch rocket and takes it for a joyride. The outcome? Equal parts fag Kama Sutra and La Vie matérielle. Libidinal philosopher, Dustan dances all night long, knowing "that if we're here then it's to live." With Nicolas Pages, he sets Ecce Homo to house music and goes hard.—Bruce Hainley, author of Under the Sign of [sic]
The point of gay literature, Dustan felt, was not to concentrate on "suffering" but "to roll around on the floor and tell people: you're not having your asses sufficiently eaten and you're not doing enough coke."—Lili Owen Rowlands, London Review of Books
Guillaume Dustan is one of the most important writers of our time. He is also—and this is not the same thing, both qualities being far from homologous—one of the most exciting French intellectuals (which isn't that frequent). Not only did Dustan narrate his life (well), he also reflected upon his time. Very few authors are great writers to such an extent, through the style, power and pure beauty of their texts, while simultaneously producing such a precise, radical, revolutionary and informed reflection on the society around them, a society which remains, through his analysis, ours today.—Constance Debré, author of Love Me Tender
Guillaume Dustan (1965–2005) worked as an administrative judge in France before turning to writing full-time. He is the author of eight books, including the award-winning novel Nicolas Pages. He was posthumously awarded the Prix Sade in 2013.
2023, English
Softcover, 200 pages, 20.2 x 13.6 cm
Published by
Semiotext(e) / Los Angeles
$34.00 - In stock -
Sasha Frere-Jones's evolution as a writer and musician with the deceptively casual intelligence that marks all of his work.
Shuttling between his first year of life (1967) and the year he wrote the book (2020), Earlier is a glorious sequence of moments, a record of the experiences that set the shape of a life. Frere-Jones's prose floats between clinically precise fragments and emotional impressions of revelations, pleasures, and accidents. It's a book about how lives happen and sensibilities form.
As fellow music critic Alex Ross observes, “It is weird to write a book about yourself, as this book is well aware. Gazing in the mirror is not mass entertainment. Sasha Frere-Jones, a writer of nonchalant, rope-a-dope power, drops the illusion of self-knowledge and instead offers up a kaleidoscope of memory shards, faithful to the chaos of inner and outer worlds. Earlier is funny, cool, raw, wise, and secretly sublime.”
Begun in 2010, Earlier was completed at the request of Deborah Holmes, to whom the book is dedicated. Holmes is the mother of Frere-Jones's two boys, Sam and Jonah. Diagnosed with pancreatic cancer in July of 2020, Holmes died in January of 2021. Earlier is the last book she read. Frere-Jones says, “Deborah was the most enthusiastic reader I've ever met. She read when she wasn't doing something else, and that never changed. She asked me to write this when we met, in 1990. I am sorry I made her wait so long.”
Sasha Frere-Jones grew up in Fort Greene, Brooklyn. His play, We Three Kings, was recognized by the Young Playwrights Festival in 1983 and performed at The Public Theater. He completed a short film called The Take in 1986. His first band, Dolores, completed two albums in the Eighties, and he is a member of Ui, whose work is available through The Numero Group. Frere-Jones plays with Body Meπa, who record for Hausu Mountain, as well as Calvinist and Fellas. He has written about music and books since 1994, and lives in the East Village with his wife, Heidi DeRuiter.
2023, English
Softcover, 216 pages, 20.2 x 13.7 cm
Published by
Semiotext(e) / Los Angeles
$35.00 - In stock -
A remarkable time capsule of Simi Valley, 1979, written before the author would become one of LA's most influential artists of subsequent decades.
When Sean DeLear died prematurely in Vienna in 2017, his friends discovered-among other treasures-an extensive diary kept at the age of fourteen. Still living with his Christian parents in the notoriously racist Los Angeles suburb of Simi Valley, Sean wrote almost every day about crushes and hustling, waterbeds, blackmail, Donna Summer, gloryholes, racism, and shoplifting gay porn.
DeLear would go on to become the frontman for the Los Angeles punk/powerpop band Glue. He was a punk musician, visual artist, intercontinental scenester, video vixen, party host, marijuana farmer, and sometime-collaborator of artists such as Kembra Pfahler and Vaginal Davis.
DeLear's forgotten diaries capture a moment in Los Angeles underground and queer history when, as his friend the writer Cesar Padilla notes, "It wasn't cool at all to be trans, gay, queer or whatever. Those words weren't even in the vocabulary." I Could Not Believe It, Padilla continues, "is a raw fearless innocent gay Black kid's journey coming out into life at an incredible pre-AIDS period. It's not cognizant of being literature. It's as naïve and forthcoming as it gets. It wasn't written with the desire to be published so Sean didn't hold back. Sean's goal was to be true to himself."
"What I love about this 'potent historical artifact of Black youth,' as Brontez Purnell describes it in his introduction, are its notes of uncertainty, lack of pretention and its persistent faith in tomorrow."—Andrew Durbin, Frieze
2023, English
Softcover, 408 pages, 20 x 14 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
The early writings of renowned poet and critical theorist Jackie Wang, drawn from her early zines, indie-lit crit, and prolific early 2000s blog.
Compiled as a field guide, travelogue, essay collection, and weather report, Alien Daughters Walk into the Sun traces Jackie Wang's trajectory from hard femme to Harvard, from dumpster dives and highway bike rides to dropping out of an MFA program, becoming a National Book Award finalist, and writing her trenchant book Carceral Capitalism. Alien Daughters charts the dream-seeking misadventures of an "odd girl" from Florida who emerged from punk houses and early Tumblr to become the powerful writer she is today. Anarchic and beautifully personal, Alien Daughters is a strange intellectual autobiography that demonstrates Wang's singular self-education- an early life lived where every day and every written word began like the Tarot's Fool, with a leap of faith.
"Jackie Wang is dissolute. She refuses the word "work" so her writing is full of location and devoid of it, continuing I guess what was really ripe in the '70s about what a sentence is and what "my" mind is doing today. It's not all lost territory but Alien Daughters, most of all, is just profoundly beautiful, hellish new writing. I feel fucking lucky to have this suitcase of Jackie's, these pets of hers, deflating and surging, bobbing & rocking here right now. Something glorious. What can it be?"—Eileen Myles
"Alien Daughters Walk Into the Sun is a patchwork epic of feral girlhood, faithful to the subterranean dignity of its materials—dreams, zines, and Tumblr posts. Jackie Wang has written a book I've been waiting my whole life to read."—Anne Boyer
"Absolutely personal, like a plant or a dream, Jackie's handbook of how to live backwards tumbles through the tumult of a dying and resurrecting world. Jackie appears in these pages as a playful high-priestess spider holding together the weave of a web that leads to the punk house and the prison and the university library and the inner world and the underworld and so on. This writing is very alive as in decomposing into the cosmos. To quote her: “the gift of the word has been given to women who are not afraid of the rapture of turning themselves inside out."—Hannah Black
Jackie Wang is a poet, scholar, multimedia artist, and Assistant Professor of American Studies and Ethnicity at the University of Southern California. She is the author of the poetry collection The Sunflower Cast a Spell to Save Us from the Void (2021), which was a finalist for the National Book Award; the critical essay collection Carceral Capitalism (Semiotext(e), 2018); and the chapbooks The Twitter Hive Mind Is Dreaming (2018) and Tiny Spelunker of the Oneiro-Womb (2016). Her research is on racial capitalism, surveillance technology, and the political economy of prisons and police.
2023, English
Softcover, 192 pages, 20 x 14 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
A document of New York from an author too close to the story to be a trustworthy eyewitness.
Composed of stories, fragmentary essays, and even press releases Natasha Stagg has been commissioned to write, Artless captures the media landscape lived and generated in New York during the past almost-decade. Since the 2016 publication of her debut novel Surveys, Stagg has positioned herself as an in-demand expert on—and critic of—the psychic experience of self-mythology within the cruelly optimistic metaverse of infinite branding. Part voyeur and part participant, Stagg continues her exploration of the branded identity and its elusive, bottomless desire for authenticity.
Natasha Stagg is the author of a novel, Surveys, and a collection, Sleeveless: Fashion, Image, Media, New York 2011–2019. Her essays have appeared in the books Excellences and Perfections, Link in Bio: Art After Social Media, You Had To Be There: Rape Jokes, Intersubjectivity Vol. II: Scripting the Human, and 9th Berlin Biennale for Contemporary Art: The Present in Drag, among others.
2023, English
Softcover, 200 Pages, 19.6 x 14.2 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
A kaleidoscopic study of Rainer Werner Fassbinder.
Melodrama, biography, cold war thriller, drug memoir, essay in fragments, and mystery, Thousands of Mirrors is cult critic Ian Penman's long-awaited first full-length book: a kaleidoscopic study of Rainer Werner Fassbinder. Written over a short period "in the spirit" of RWF, who would often get films made in a matter of weeks or months, Thousands of Mirrors presents the filmmaker as Penman's equivalent of what Baudelaire was to Benjamin: an urban poet in the turbulent, seeds-sown, messy era just before everything changed. Beautifully written and extraordinarily compelling, echoing the fragmentary works of Roland Barthes and Emil Cioran, Eduardo Galeano and Alexander Kluge, this story has everything: sex, drugs, art, the city, cinema, and revolution.
2023, English
Softcover, 136 pages, 20.1 x 13.6 cm
Published by
Semiotext(e) / Los Angeles
$35.00 - Out of stock
The first complete edition of this notorious novel which maps the 1980s anarchic underground of Los Angeles.
Published in excerpts over almost four decades, Jack Skelley's "secretly legendary" novel is at once an homage to the thrillingly inventive spirit of Kathy Acker's cut-up novels and a definitive history of LA's underground culture of the mid-1980s.
Composed in bursts, Fear of Kathy Acker depicts Los Angeles through the eyes of a self-mocking narrator. Shifting styles and personae as he moves between Venice and Torrance, punk clubs and shopping malls, Disneyland and Dodger Stadium, Jack Skelley pushes the limits of language and identity while pursuing-like Kathy Acker-a quixotic literary mix of discipline and anarchy. In this adrenalized, cosmic, and comic chronicle of Los Angeles, Skelley's "real life" friends make cameo appearances alongside pop archetypes from Madonna to Billy Idol.
This first-ever complete edition of the book includes new essays, playlists, and a map of the 1980s Los Angeles in which its manic protagonist lives and loves.
"Fear of Kathy Acker is one of the great lost masterpieces of '80s experimental fiction. That it's no longer an inaccessible legend is huge."—Dennis Cooper
"Jack Skelley pours it on like sometimes blam blam blam like the riff in "Death Valley '69" but mostly with a surfer's rhythm like the cool throb of his guitar, his writing the poetics of pink love and punk pool splash action, the sound I adore."—Thurston Moore
"Despite the dislike of seeing my own name, you're really a good writer—never what's expected."—Kathy Acker
"Deft, deadpan, dreadful, deliberate, delirious. Perfect adult bedtime reading."—Jane Rankin-Reid, White Hot Magazine
2023, English
Softcover, 288 pages, 19.7 x 13.4 cm
Published by
Semiotext(e) / Los Angeles
$42.00 - In stock -
A restless inquiry into the cultural and psychic sources of insomnia by one of contemporary French literature's most elegant voices.
Plagued by insomnia for twenty years, Marie Darrieussecq turns her attention to the causes, implications, and consequences of sleeplessness: a nocturnal suffering that culminates at 4 a.m. and then defines the next day. “Insomniac mornings are dead mornings,” she observes. Prevented from falling asleep by her dread of exhaustion the next day, Darrieussecq turns to hypnosis, psychoanalysis, alcohol, pills, and meditation. Her entrapment within this spiraling anguish prompts her inspired, ingenious search across literature, geopolitical history, psychoanalysis, and her own experience to better understand where insomnia comes from and what it might mean. There are those, she writes, in Rwanda, whose vivid memories of genocide leave them awake and transfixed by complete horror; there is the insomnia of the unhoused, who have nowhere to put their heads down. The hyperconnection of urban professional life transforms her bedroom from a haven to a dormant electrified node.
Ranging between autobiography, clinical observation, and criticism, Sleepless is a graceful, inventive meditation by one of the most daring, inventive novelists writing today.
Translated by Penny Hueston.
Marie Darrieussecq is one of the leading voices in contemporary French literature. Her first novel, Pig Tales, was a finalist for France's prestigious Prix Goncourt in 1996 and became an international bestseller. Her 2013 novel Men: A Novel of Cinema and Desire received the Prix Médicis, and her luminous, voluptuous portrait of the artist Paula Modersohn-Becker, Being Here Is Everything, was published in English by Semiotext(e) in 2017. Darrieussecq has also worked as a translator and a psychoanalyst.
2007, English
Softcover, 216 pages, 15.5 x 23 cm
Published by
Semiotext(e) / Los Angeles
$35.00 - In stock -
Translated with introduction by Bruce Benderson
A scathing view of sex manuals for children and society's hypocrisy of over sex that argues for the rights of children to their own bodies and their own sexuality.
Why is pleasure "doubled" when it's "shared"?... Do you really have to cut pleasure in two so that it'll exist? I mean, if it's doubled when there are two of you, then it must be tripled when there are three, quadrupled when there are four, centupled when there are a hundred, right? Is it O.K. for a hundred to share? And if I get used to trying it all alone, why is it that I'll never love anyone again? Is it that good alone and that awful with others? ; from Good Sex Illustrated First published in France in 1973, Good Sex Illustrated gleefully deciphers the subtext of a popular sex education manual for children produced during that period. In so doing, Duvert mounts a scabrous and scathing critique of how deftly the "sex-positive" ethos was harnessed to promote the ideal of the nuclear family. Like Michel Houllebecq, Duvert is highly attuned to all the hypocrisies of late twentieth century western "sexual liberation" mass movements. As Bruce Benderson notes in his introduction, Good Sex Illustrated shows that, "in our sexual order, orgasm follows the patterns of any other kind of capital... 'good sex' is a voracious profit machine." But unlike Houllebecq, Duvert writes from a passionate belief in the integrity of unpoliced sex and of pleasure. Even more controversially now than when the book was first published, Duvert asserts the child's right to his or her own playful, unproductive sexuality. Bruce Benderson's translation will belatedly introduce English-speaking audiences to the most infamous gay French writer since Jean Gênet.
Tony Duvert (1945–2008) earned a reputation as the “enfant terrible” of the generation of French authors known for defining the postwar Nouveau Roman. Expelled from school at the age of 12 for homosexuality (and then put through a psychoanalytic “cure” for his condition), Duvert declared war on family life and societal norms through a controversial series of novels and essays (whose frequent controversial depictions of child sexuality and pedophilia often lead his publisher to sell his works by subscription only). He won the Prix Medicis in 1973 for his novel Strange Landscape. His reputation faded in the 1980s, however, and he withdrew from society. He died in isolation in July 2008 in the commune of Thoré-la-Rochette in central France.
1991, English
Softcover, 148 pages, 11.4 x 17.8 cm
1st Edition, Out of print title / used / very good
Published by
Semiotext(e) / Los Angeles
$65.00 - Out of stock
First edition of Kathy Acker's Hannibal Lecter, My Father, published by Semiotext(e) in 1991 as part of the Lotringer edited Native Agents series.
You can say I write stories with sex and violence and therefore my writing isn't worth considering because it uses content much less lots of content. Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'...
Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer—which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker's fiction. And last, but not least, is the full transcript of the decision reached by West Germany's Federal Inspection Office for Publications Harmful to Minors in which Acker's work was judged to be "not only youth-threatening but also dangerous to adults," and subsequently banned.
Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She's definitely not for the easily offended—but then, there are worse things in life than being offended. Such as the things that Acker writes about...
2023, English
Softcover, 368 pages, 17.7 x 11.3 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - Out of stock
What if capitalism and its social machine were the outcome of a conspiratorial strategy?
What if capitalism and its social machine were the outcome of a conspiratorial strategy? This anonymous book considers evidence that they must be that. Further, it argues in favor of passionate counter-conspiracies as the logical form of revolt in our time, when our very souls are said to be at stake.
Translated by Robert Hurley
Robert Hurley is a translator whose credits include translating the work of French philosophers Michael Foucault, Gilles Deleuze, Pierre Clastres, and Georges Bataille.
"The Conspiracist Manifesto should prompt a reconsideration of the question raised previously by both Jameson and Latour: Can the reflexive skepticism of “critical theory” be distinguished from that of “conspiracy theory”? What is—and what should be—the proper relation between these two bodies of “theory,” both ostensibly defined by radical suspicion?"—Geoff Shullenberger, The Chronicle of Higher Education
2023, English
Softcover, 432 pages, 17.6 x 11.5 cm
Published by
Semiotext(e) / Los Angeles
$35.00 - In stock -
An acute reappraisal for our time of the very concept of revolution.
In order to be effective, union struggles, struggles for national liberation, worker mutualism, or struggles for emancipation were strategies that were necessarily connected to revolution. Starting from the historic defeat of the global Revolution in the mid-1970s, this book draws a portrait-whose elaboration is still lacking-of the concept of revolution. What conditions could lead us to speak of revolution once again?
In The Intolerable Present, the Urgency of Revolution, Maurizio Lazzarato ponders the fundamental importance of the passage from the historical class struggle (the conflict between capital and labour) to the more recent class struggles that open onto plural trajectories- social, sexual, gender, and race struggles. Expanding the notion of class as a rejoinder to the normative appropriation of minority politics, the revolution is returned as the horizon where subjection can be resorbed.
In this sense, Marxist, feminist, anticolonial, and postcolonial theories provide the necessary critical tools to understand the relations between classes and minorities, between the global North and the global South, and between the time of revolutions and the eruption of new subjectivities.
Maurizio Lazzarato is an independent philosopher who lives and works in Paris. He is the author of Wars and Capital with Eric Alliez (Semiotext(e), 2018), and Capital Hates Everyone: Fascism or Revolution (Semiotext(e), 2021).
2023, English
Softcover, 296 pages, 20.5 x 14 cm
Published by
Semiotext(e) / Los Angeles
$36.00 - In stock -
A dark yet compassionate comedy of art aspirations and friendships come to naught.
First published in 2003, Gary Indiana's turn-of-the-millennium novel traces the lives of a loosely connected group of New York artists and the dissolution of their scene.
During the summer of 2001, the narrator of Do Everything in the Dark, a gallery curator, receives intermittent dispatches from his far-flung friends-many of whom resemble well-known figures in the art and intellectual worlds-who are spread out across the globe, from Istanbul to Provincetown to Santa Fe. Seeking various reprieves from a changed New York, the long-festering, glossed-over incompatibilities of these aging bohemians blossom into exotic and unbearable relief. Beneath the contemporary excesses Indiana chronicles, we can see the outlines of the earlier New York bohemia captured by Dawn Powell.
Arguably Indiana's most intimate, internal, and compassionate work to date, Do Everything in the Dark is a chilling chronicle of madness and failure, success and disappointment, and the many ways love dies in a world people find increasingly unlivable.
"A great book-melancholic and funny and wicked smart."—Michael Miller, National Book Critics Circle
"With scrupulously intense sentences-pitch-perfect, pitch-dark-Indiana conjures a hugely sad New York novel that feels once state-of-the-art and stunningly ancient."—Ed Park, The Believer
2023, English
Softcover, 224 Pages, 23.5 x 18 cm
Published by
Semiotext(e) / Los Angeles
$39.00 - In stock -
Edited by Robert Leonard
Foreword by Chris Kraus
Artist, gallerist, and writer Giovanni Intra's inventive approach to art writing provides a guide to the New Zealand and Los Angeles art scenes of his era.
Everything you read about Los Angeles is true. The city adapts to its own mythology. It's such a ludicrously discussed place that I always feel slightly idiotic in my attempts to produce a serious discourse about it. Raves in the desert, however, are superb. And ecstasy is a great drug. Also, if you hadn't heard, music sounds better when you're high. And the desert surrounding LA is wondrous.—Giovanni Intra, "LA Politics"
Before his early death in 2002, Giovanni Intra enjoyed a rollercoaster ride through the art world. He was an artist and gallerist-cofounding two legendary galleries, the artist-run space Teststrip in Auckland and China Art Objects Galleries in Los Angeles-as well as a writer. Clinic of Phantasms provides a guide to the New Zealand and Los Angeles art scenes of the day, including texts on key artists from New Zealand (John Hurrell, Fiona Pardington, Denise Kum, Ava Seymour, Ann Shelton, Gavin Hipkins, Daniel Malone, and Slave Pianos) and Los Angeles (Charles Ray, Mike Kelley, Paul McCarthy, Dave Muller, Evan Holloway, John McCracken, and Julia Scher).
What makes Intra's work of enduring significance is his inventive approach to art writing, which was informed by his interest in punk, surrealism, and Daniel Paul Schreber, the famous case study in paranoia and hallucination. This volume features writing on Intra from Chris Kraus and Mark von Schlegell, Andrew Berardini, Roberta Smith, Tessa Laird, Will Bradley, Joel Mesler, and Robert Leonard.
"He emerged the radically elegant punk, whip-crack smart and charming as hell . . . The hilarious honesty and sharp intelligence of Giovanni was to me a breeze, a knife, a wonder."—Andrew Berardini, "Everything You Read About Giovanni Intra is True"
Published by Bouncy Castle and Semiotext(e).