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Cover of Entertaining Ideas (The Long View)

Ma Bibliotheque

Entertaining Ideas (The Long View)

Kate Briggs

€12.00

Imagine that we too (imagine that I too), wanted to welcome ideas, to attend to them, to take care of them, to make sure they have a good time. Imagine that I too wanted to be a good hostess to writing ideas. How to be open to them, how to be alert to them—so that I know how and when to let them in? 

ENTERTAINING IDEAS began as a reading exercise: an effort to perform a ‘good reading’ of Elizabeth Jane Howard’s The Long View(1956), and to think about what a ‘good’ short reading of a long novel might mean, what it might look like or read like. As a translator, Kate Briggs accepts that writing out a reading involves change, tampering with what seems perfect, and doing so from necessity, as a way of learning how exactly it works. She has changed Howard’s book. Her exercise changed too, expanding unexpectedly into a set of reflections on writing backwards, living forwards, and entertaining ideas.

‘Kate Briggs generously shares with us her unique and delicately revolutionary way of reading; the moment where writing becomes the only way to grasp our slippery thoughts and desires. This book is pure joy.’
– >Alejandro Zambra

Kate Briggs is a writer and translator based in Rotterdam, NL. She is the translator of two volumes of lecture and seminar notes by Roland Barthes (Columbia University Press, 2011 and 2013). Other publications include:Exercise in Pathetic Criticism (Information as Material, 2011), On Reading as an Alternation of Flights and Perchings (NO Press, 2013), and The Nabokov Paper (Information as Material, 2013). This Little Art, a long essay on the practice of translation, was published by Fitzcarraldo Editions in 2017.

Published in 2019 ┊ 64 pages ┊ Language: English

recommendations

Cover of Moi

Ma Bibliotheque

Moi

Sharon Kivland

The straplines of a number of advertisements drawn from magazines of the 1950s are turned into drawings, as though a particularly vain and narcissistic woman speaks (as of course she does), She is ‘en pleine forme’ of her beauty. (2016).

Cover of BFTK — Issue 4: On Translation, Transmission & Transposition

Bricks from the Kiln

BFTK — Issue 4: On Translation, Transmission & Transposition

Andrew Walsh‐Lister, Matthew Stuart and 2 more

Periodicals €23.00

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.

The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019).

GREENING
Helen Marten
(front / back flaps)

JOY & HAPPINESS, FIDELITY
& INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)

PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)

TRANSLATION AND A LIPOGRAM:
OR, ON FORMS OF AGAIN-WRITING
AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)

UNHOMING (1 of 4):
FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)

SNOW WHITE AND THE WHITE
OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)

ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)

LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)

TRANS.MISSION [A.DIALOGUE]:
A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)

THE MECHANISATION OF ART
Edgar Wind
(glosses / annotations / insertions by
Natalie Ferris & Bryony Quinn)
(pp.137–144)

UNHOMING (2 of 4)
Phil Baber
(p.147)

COMMISSION FOR A NOIR MOVIE
B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)

UNHOMING (3 of 4)
Phil Baber
(pp.150–162)

EVERY CONTACT LEAVES A TRACE;
TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)

HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)

METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)

AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)

SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)

EVERY TELLING HAS A TALING /
EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)

GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)

UNHOMING (4 of 4)
Phil Baber
(pp.257–263)

TUNNELLING AND AGGREGATING
FOR DESIGN RESEARCH
Bryony Quinn (text) &
Peter Nencini (images)
(pp.265–272)

LET IT PERCOLATE:
A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)

288 pgs, 22.4 × 17 cm, Softcover, 2020

Cover of Prairie, Dresses, Art, Other

Prototype Publishing

Prairie, Dresses, Art, Other

Danielle Dutton

Fiction €16.00

In Prairie, Dresses, Art, Other Danielle Dutton imagines new models for how literature might work in our fractured times. Dutton’s writing is as protean as it is beguiling, using the different styles and different spaces of experience to create a collage of the depths and strangeness of contemporary life.

This hybrid literary collection covers an inventive selection of subjects in four eponymous sections which contrast and echo one another, challenging our expectations and pushing the limits of the dream-like worlds and moods that language might create.

‘Danielle Dutton is a writer whose work I wait for. When a new book comes, I keep it very close… Her growing body of work is among the most formally inventive (and therefore essential) I can think of, and Prairie, Dresses, Art, Other is a vital, enlivening addition to it.’ – Kate Briggs

Danielle Dutton is the author of the novels Margaret the First and SPRAWL, the prose collection Attempts at a Life, the illustrated nonfiction chapbook A Picture Held Us Captive, and she wrote the text interpolations for Richard Kraft’s Here Comes Kitty: A Comic Opera. Her fiction has appeared in magazines and journals including The New Yorker, The Paris Review, The White Review, Harper’s, BOMB, and NOON. Dutton teaches at Washington University in St. Louis and is cofounder and editor of the award-winning feminist press Dorothy, a publishing project. Born and raised in California, she has lived on the (former) prairie now for roughly twenty years.

Cover of A4 review N°3

Littérature Supersport

A4 review N°3

Marjolein Guldentops, Ahmed Saleh and 2 more

Poetry €4.00

Founded in 2023, A4 is a poetry review which showcases and explores contemporary writings practices. Run by Littérature Supersport collective, the object is seen as the extension of their events. The review takes the form of 4 postcards which, when placed side-by-side, form an A4-sheet. A light (even precarious) format for literature that slips into the back pocket of pants and hangs on fridge doors. Each issue features unpublished texts by 4 authors. Wrapped in colors, A4 is distributed by post and available in good bookshops, in Brussels, Liège, Paris and Marseille. 

This third issue presents texts by : Lila Maria de Coninck, Gabriel Gauthier, Marjolein Guldentops & Ahmed Saleh.

Ahmed Saleh (born 1998) is a Palestinian writer and poet from Gaza. He studied business administration and political science and is currently living  in Brussels. Ahmed writes articles in Arabic and English, several of which have been published on various platforms. 

Marjolein Guldentops (Belgium, 1994) is a visual artist, author, and performer. Her artistic practice spans various mediums, including text, video and performance. Rooted in the concept of worlding, her work explores the urban rhythms, flows, and semantics that shape perceptions of space and language in both physical and metaphysical senses.

Gabriel Gauthier is a graduate of the Beaux-arts in Paris. He writes books, performs and makes music. He has published Simurgh & Simorgh and Contra at Théâtre Typographique (2016, 2024) and Speed at Vies Parallèles (2020). He has designed pieces at the border of dance and visual arts (Cover, Rien que pour vos yeux). Space, his first novel, was published by Corti.

Lila Maria de Coninck (2004) is a Belgian creator living in The Hague. She makes music, theatre and writes poetry. The guiding principle in her works is the use of multilingualism and miscommunication to promote creativity in her mother tongue, Dutch.

Cover of How to Sleep Faster 5

Arcadia Missa

How to Sleep Faster 5

Various

Periodicals €12.00

What are our politics of refusal? Sleep? Catatonia? Hedonism? Transgression even? #hustle? 

[Can refusal can be performed as resistance and not operate as preemptively fucked. . .]

Arcadia Missa Publications; Rózsa Farkas, Holly Childs, Leila Kozma, Tom Clark (eds)

Cover of Art Notes, Art

CARA

Art Notes, Art

Cynthia Hawkins

Since the 1970s, Cynthia Hawkins has investigated the potentials of abstract painting. While often beginning a work or series with a predetermined concept or strategy, Hawkins’s process-oriented practice simultaneously embraces the improvisational to create a systemized space for her continually evolving vocabulary. From 1979 to 1981, important early years in the elaboration of her work, Hawkins documented these developments in a journal. A record of routine and the everyday, the journal also gathers sketches, notes for new and in-progress works, and responses to contemporary art and criticism, bringing the artist’s process, experimentation, and reflections on materials, formalism, abstraction, and figuration into relief. 

Art Notes, Art also offers a picture of the burgeoning Black-owned gallery scene in 1970s and ‘80s New York that Hawkins was an important participant in—including Cinque Gallery, Kenkeleba Gallery, and Just Above Midtown, where she had her first solo exhibition in 1981–as well as the women artists’ circle she was an active member of, which hosted weekly shares, critiques, exchange, and amplification of each others’ work. An important glimpse into Hawkins’s creative process and artistic community, Art Notes, Art is richly illustrated with works by the artist produced during this key period–some of which are now lost–photographs and ephemera, and a visual archive of contemporaneous work by her peers.

Editor: Ananth Shastri
Managing Editor: Rachel Valinsky

Cover of rosa rosa rosae rosae

Self-Published

rosa rosa rosae rosae

Pauline Hatzigeorgiou

Produced in conjunction with the exhibition that took place at Maison Pelgrims (10/9-23/10/2021), the book presents original interventions by the artists of the rosa rosae rosae project : Alicia Jeannin, Alicja Melzacka, Angela Detanico & Rafael Lain, Annaïk Lou Pitteloud, Audrey Cottin, buren, Charlie Usher, Eleanor Ivory Weber, Eva Giolo, Henry Andersen, Jan Vercruysse, Maíra Dietrich, Marc Buchy, Maxime Jean-Baptiste, Niels Poiz, Oriol Vilanova, Sabir (Lucie Guien, Amélie Derlon Cordina, Sophie Sénécaut / Perrine Estienne,  Kevin Senant, Maud Marique, Pauline Allié, Carole Louis), Slow Reading Club, Sofia Caesar, Surya Ibrahim, Yiannis Papadopoulos, Yoann Van Parys

Edited by Pauline Hatzigeorgiou / SB34
Graphic design by Tipode Office
The book was produced with the support of Fédération Wallonie-Bruxelles (aide à l'édition) and Région Bruxelles-Capitale (Image de Bruxelles)

Cover of Reseeding the library, gleaning readership

Afternoon Editions

Reseeding the library, gleaning readership

Jeroen Peeters

Afternoon Editions no. 1: an essay by Jeroen Peeters titled Reseeding the library, gleaning readership. In May 2017, Time has fallen asleep in the afternoon sunshine settled during three weeks in the Ravenstein Gallery in Brussels as part of the Kunstenfestivaldesarts. Invited as a writer in residence, Jeroen Peeters visited the library of living books on a daily basis and recorded his observations by hand in a notebook, which formed the basis for Afternoon Edition #1. Reseeding the library, gleaning readership is an essay on the seed library, on the dispersion of literature through wind, water and animals, on biodiversity and commoning at the heart of readership. On the cover a drawing by Wouter Krokaert of a Philodendron Xanadu. Published May 2018.