Archive Dora Diamant #4

A collection of photographs from the archives of the icon of underground and alternative Parisian nights Dora Diamant.

A self-taught photographer, Dora Diamant has left thousands of photos. The Dora Diamant Association, custodian of this archive, and Éditions L'Amazone have joined forces to bring them to life by devoting a series of publications to them. Each volume of the Dora Diamant Archive was created by a different person and is the result of a subjective selection and arrangement specific to its author.

Figurehead of the Parisian underground and queer nights, photographer, DJ, multimedia and polymorphic artist, Dora Diamant was the daughter of Pascal Doury.

Selected by Yamil Farah and Mélanie Matranga.

A collection of photographs from the archives of the icon of underground and alternative Parisian nights Dora Diamant.

A self-taught photographer, Dora Diamant has left thousands of photos. The Dora Diamant Association, custodian of this archive, and Éditions L'Amazone have joined forces to bring them to life by devoting a series of publications to them. Each volume of the Dora Diamant Archive was created by a different person and is the result of a subjective selection and arrangement specific to its author.

Figurehead of the Parisian underground and queer nights, photographer, DJ, multimedia and polymorphic artist, Dora Diamant was the daughter of Pascal Doury.

Selected by Clara Pacotte and Esmé Planchon.

"Elles sont de sortie" is the title of a periodic publication launched in 1977 by Pascal Doury and Bruno Richard. The plural and feminine form of the enigmatic phrase "elles sont de sortie," chosen almost by chance, announces a protean work and often collective experience. From its origins to the most recent iterations, including Doury's more confidential individual trajectory after "Elles sont de sortie," Choquer le Monde à Mort traces five decades of a corpus of nearly three hundred publications. It addresses some of the most emblematic editorial works, as well as others that remain unpublished, alongside ambitious and sometimes scandalous exhibitions, few of which are documented.

This work is the result of several years of research, enriched by numerous firsthand interviews, and unfolds in three parts: a chronology and analysis of a singular and marginal artistic history, works and iconographic documents, and an anthology bibliography. Together, these elements reveal the complexity of an editorial object with porous boundaries, both in its forms and its contents, oscillating between graphzine, artist book, poetry collection, and personal journal. Its ramifications, status, and legacy retrospectively reveal the importance of a discreet yet seminal work.

Thus, "Elles Sont de Sortie" also serves as an opportunity to revisit the paths of two aesthetic and provocative artists, deeply devoted to their art and true free spirits in an art world often too narrow for them. It immerses us in a plethora of works that are intimate and raw, as well as subtle and refined, all in service of a project that, in Doury's words, aims to "shock the world to death."

Edited by Tiphanie Blanc, Jonas Delaborde, Anna Lejemmetel.
Contribution by Anna Lejemmetel.

Homie is Danez Smith’s magnificent anthem about the saving grace of friendship. Rooted in the loss of one of Smith’s close friends, this book comes out of the search for joy and intimacy within a nation where both can seem scarce and getting scarcer. In poems of rare power and generosity, Smith acknowledges that in a country overrun by violence, xenophobia, and disparity, and in a body defined by race, queerness, and diagnosis, it can be hard to survive, even harder to remember reasons for living. But then the phone lights up, or a shout comes up to the window, and family—blood and chosen—arrives with just the right food and some redemption.

Part friendship diary, part bright elegy, part war cry, Homie is the exuberant new book written for Danez and for Danez’s friends and for you and for yours.

& colin kaepernick is my president, who kneels on the air
bent toward a branch, throwing apples down to the children
& vets & rihanna is my president, walking out of global summitswith wine glass in hand, our taxes returned in goldto dust our faces into coins
& my mama is my president, her grace stuntson amazing, brown hands breaking brown bread overmouths of the hungry until there are none unfed & my grandma is my president
& her cabinet is her cabinetcause she knows to trust what the pan knowshow the skillet wins the war  
—from “my president”

The first comprehensive biography of Adrienne Rich, feminist and queer icon and internationally revered National Book Award winning poet.

Adrienne Rich was the female face of American poetry for decades. Her forceful, uncompromising writing has more than stood the test of time, and the life of the woman behind the words is equally impressive. Motivated by personal revelations, Rich transformed herself from a traditional, Radcliffe-educated lyric poet and married mother of three sons into a path-breaking lesbian-feminist author of prose as well as poetry. In doing so, she emerged as both architect and exemplar of the modern feminist movement, breaking ranks to denounce the male-dominated literary establishment and paving the way for the many queer women of letters to take their places in the cultural mainstream. Drawing on a wealth of unpublished materials, including Rich's correspondence and in-depth interviews with numerous people who knew her, Hilary Holladay digs deep into never-before-accessed sources to portray Rich in full dimension and vivid, human detail.

A bold, innovative biography that offers a new understanding of the life, work, and enduring impact of Audre Lorde.

We remember Audre Lorde as an iconic writer, a quotable teacher whose words and face grace T-shirts, nonprofit annual reports, and campus diversity center walls. But even those who are inspired by Lorde’s teachings on “the creative power of difference” may be missing something fundamental about her life and work, and what they can mean for us today.

Lorde’s understanding of survival was not simply about getting through to the other side of oppression or being resilient in the face of cancer. It was about the total stakes of what it means to be in relationship with a planet in transformation. Possibly the focus on Lorde’s quotable essays, to the neglect of her complex poems, has led us to ignore her deep engagement with the natural world, the planetary dynamics of geology, meteorology, and biology. For her, ecological images are not simply metaphors but rather literal guides to how to be of earth on earth, and how to survive―to live the ethics that a Black feminist lesbian warrior poetics demands.

In Survival Is a Promise , Alexis Pauline Gumbs, the first researcher to explore the full depths of Lorde’s manuscript archives, illuminates the eternal life of Lorde. Her life and work become more than a sound bite; they become a cosmic force, teaching us the grand contingency of life together on earth.

Charlie Prodger works across moving image, writing, sculpture, drawing and printmaking. Through the prism of queer subjectivity, her work explores intertwined relations between the body, landscape, language, technology and time. To accompany her exhibition and the presentation of the complete film trilogy—Stoneymollan Trail, BRIDGIT, and SaF05—a book with a substantial essay by Sarah Hayden is released in Secession’s publication series.

The London-based author and associate professor of literature and visual culture analyzes the significance of voice and voiceover in Prodger’s video works. For the book, the artist has created a series of image pairings of production photos and video stills from the final part of the trilogy, SaF05.

Halberstam offers an alternative history of sexuality by tracing the ways in which the wild, a space located beyond normative borders of sexuality, offers sources of opposition to knowing and being that transgress Euro-American notions of the modern subject.

"WILD THINGS is queer theorist Jack Halberstam's account of sexuality in general, and queerness in particular, after nature. As the heterosexual/homosexual binary emerged in the late 19th-century and coalesced in the 20th-century, discourses of both heterosexuality and homosexuality defined sexuality in relation to nature and the natural world. The most well-known is the homophobic framing of homosexuality as unnatural, aberrant, and "against" nature, but of equal importance is the 19th-century male dandy's positioning of artifice and camp-and through it homosexuality-as anti-natural. On the other hand, heterosexuality was often held up as the "natural" sexuality and, later in the 20th-century, gay scientists tried to prove that homosexuality was a natural, biological desire.

In this book, Halberstam mobilizes wildness as an analytic through which an alternative history of sexuality and desire outside of heterosexuality, homosexuality, and taxonomical classifications can emerge. To that end, Halberstam turns back to the orderly, taxonomical, and classified homosexuality and heterosexuality of the 19th and 20th-centuries and asks: what embodiments and desires were swept under the carpet in the process of creating identitarian sexualities?

Halberstam claims these excluded and unruly figures as "wild" lives lived out in embodiments and desires which eluded the orderly classifications of their era. Wildness, for Halberstam, thus becomes a way to claim an "epistemology of the ferox," a way of being and knowing in the world which is not the opposition of order but order's absence: a force which "disorders desire and desires disorder."

Although he is clear that wildness and queerness are not interchangeable, Halberstam sees in wildness and "wild thought" queer theory's anti-identitarian impulse to explore life outside of the limits of the human and liberal governance. More than just a project of recuperating queer figures lost in the archive, Halberstam's WILD THINGS argues for a revision of queer history, one in which "nature" and the "natural world" does not function as that which sexuality defines itself with and against"