Honey Mine: Collected Stories

Traversing multivalent intimacies from the underworld of California’s Central Valley oil fields to the quotidian domestic and love’s painful retraction, Stockton’s poems articulate the blurry modes of extraction, fantasy, loss, gender, and labor as they interact and overlap in the shadow of environmental and personal collapse. Between gas station gifts, Venmo requests, and nocturnal love letters, Fuel unravels the self and violent systems of domination, longing for a togetherness that transcends its own ending.

In these poems, Stockton plunges into petrologic, long drives, the beginnings of ends—whatever enters into love between people and makes it so abstract, or common. In other words, its great subject is the edge, and Fuel is a book of horizons. - Benjamin Krusling

Rosie Stockton is the author of Permanent Volta (Nightboat Books 2021) which was the recipient of the Sawtooth Prize as well as being a finalist for the California Book Awards in Poetry and the Publishing Triangle’s Audre Lorde Award for Lesbian Poetry. Their poems have been published by Social Text Journal, VOLT, Jubilat, Apogee, Mask Magazine, Tripwire and WONDER PRESS. They hold an M.A. in Creative Writing from Eastern Michigan University and are currently a Ph.D. Candidate in the Gender Studies Department at UCLA. Rosie lives and works in Los Angeles.

A textual and historigraphical odyssey imbued with queer intergenerational yearning and loss.

Don't Leave Me This Way blends archival research with sexual fantasy to produce a series of sonnets inspired by Gaétan Dugas, named by Randy Shilts as "Patient Zero" of the AIDS epidemic in North America. Committed to the utopian possibilities of elegy and pornography, Don't Leave Me This Way exploits the absurdist beauty of the cut-up technique to voice a chorus of lost spirits: poignant, vengeful, and ready to ball.

Searing in its energies and mysterious in its icy depths, Love is Colder than the Lake is a tour-de-force of the experimental French poet Liliane Giraudon's power and range. 

Love is Colder than the Lake weaves together stories dreamed and experienced, fragments of autobiographical trauma, and scraps of political and sexual violence to create an alchemical and incantatory texture that is all Giraudon's own. In its feminist attention and allusive stylistic registers, Love is Colder than The Lake claims a unique position among contemporary French literature. The heroes (or anti-heroes) in this collection include Rainer Werner Fassbinder, Lorine Niedecker, Emma Goldman, Chantal Akerman, the Marquis de Sade, and the unnamed lake itself. Giraudon's writing, editing, and visual work have been influential in France for decades, and English-speaking readers will thrill to this challenging, important voice.

Liliane Giraudon was born in Marseille in 1946. She continues to live and work in Marseille, and her writing is inseparable from the place, shaped by the vibrant community of poets and writers and artists Giraudon has herself shaped, as well as by the city's gritty and diverse cosmopolitanism. Giraudon's many books have, since 1982, been primarily published by France's P.O.L. editions. Giraudon has also been instrumental as an editor for influential reviews such as Banana Split, Action Poétique, and If. She performs and collaborates widely, including with Nanni Balastrini, Henri Delui, Jean-Jacques Viton, and many others. Two of her books ( Fur and Pallaksh, Pallaksh) were published in English by Sun & Moon Press in 1992 and 1994, respectively. She lives in Marseille, France.

Lindsay Turner is the author of the poetry collections Songs & Ballads (Prelude Books, 2018) and The Upstate (University of Chicago Press, 2023). She has twice received French Voices awards for her translations from the French, which include books of poetry and philosophy by Stéphane Bouquet, Souleymane Bachir Diagne, Anne Duforumantelle, Ryoko Sekiguchi, and others. She is Assistant Professor of English and Creative Writing at Case Western Reserve University in Cleveland, Ohio.

Sarah Riggs is a poet and multivalent artist. Her most recent book The Nerve Epistle appeared in 2021. Translation is one of her arts, for which she received a Griffin prize with Etel Adnan, and Best Translated Book Award, also for Adnan's Time (Nightboat, 2019). Riggs lives in Brooklyn, after many years in Paris. Author residence: Marseille, France.

A visionary anthology that examines and reimagines the archive as a form of collective record-keeping, featuring work by Alexis Pauline Gumbs, Douglas Kearney, Brenda Shaughnessy, Mahogany L. Brown, and many new and emerging voices. 

Inspired by Naima Yael Tokunow's research into the Black American record (and its purposeful scarceness), Permanent Record asks, what do we gain when we engage with our flawed cultural systems of remembrance? How does questioning and creating a deep relationship to the archive, and in some cases, spinning thread from air where there is none, allow us to prefigure the world that we want? Including reflections on identity and language, diasporic and first generation lived experiences, and responses to the ways the record upholds harm and provides incomplete understandings, Permanent Record hopes to reframe what gets to be a part of collective remembrance, exploring "possibilities for speculating beyond recorded multiplicity."

Cold Heaven joins two plays, Sometimes Dead is Better and Bye Bye Brunhilde, with an introduction by the author. Both plays have the dissonant, radical beauty of poetry.

As Roy writes in her Introduction to the book: “Plays are porous, written to be entered… Plays provide a frame for studying collisions… Language can be an (uncontrollable) character, moving in on the others, creating a stir… [I]n a play… the private self disappears. Writing can move out into the dead zone between any two people and test what is there.”

Imagine a Punch and Judy as lesbians whose domestic and sexual squabbles are paraded in the language of brilliant poets; these are Camille Roy's Fear and Technique. A wonderful play.

This bootleg edition collects scanned copies of Monique Wittig's writing. It includes; The Lesbian Body, Les Guérillères, The Opoponax, and Lesbian Peoples: material for a dictionary— In true bootleg style, punk enough to carry the truly radical words of Wittig: scans, a little grainy, with marginalia of unknown origins. Now, we can dress ourselves in the ravishingly erotic, violent splendorous brilliance to become baby Wittigs.  

This edition was assembled out of a deep love of Wittig's work by Chloe Chignell.

Monique Wittig was a French author and feminist theorist particularly interested in overcoming gender and the heterosexual contract. She published her first novel, L'opoponax, in 1964. Her second novel, Les Guérillères (1969), was a landmark in lesbian feminism.

The cheap-eaters have been eating at the Vienna Public Kitchen for years, from Monday to Friday, and true to their name, always the cheapest meals. They become the focus of Koller’s scientific attention when he deviates one day from his usual path through the park, leading him to come upon the cheap-eaters and to realize that they must be the focal piece of his years-long, unwritten study of physiognomy. The narrator, a former school friend of Koller’s, tells of his relationship with Koller in a single unbroken paragraph that is both dizzying and absorbing. In Koller, the narrator observes a “gradually ever-growing and utterly exclusive interest in thought . . . . We can get close to such a person, but if we come into contact with him we will be repelled.” Written in Bernhard’s hyperbolic, darkly comic style, The Cheap-Eaters is a study of the limits of language and thought.

Thomas Bernhard was one of the most important and unique writers of the twentieth century. Born in 1931, Bernhard published numerous novels and autobiographical writings, as well as short stories, plays, and poetry, including The Loser and Extinction. Many of his prose works feature complex narrative structures and obsessive, misanthropic monologues. After years of chronic lung illness, Bernhard died in Austria in 1989.

Douglas Robertson is a translator based in Baltimore, Maryland. He studied British and American Literature at the New College of Florida and Johns Hopkins University. He has translated works from German into English by authors including E. T. A. Hoffmann, Hugo von Hofmannsthal, Christian Morgenstern, Novalis, and Ludwig Tieck, and he has studied Thomas Bernhard’s work for over ten years. The Cheap-Eaters is his first book-length published translation.

If Aurora Mattia is a switchboard operator, then Unsex Me Here is her call log. Please hold. There’s someone on the other line. A spider, a sibyl, an angel, a mermaid, a goddess, or an ex-girlfriend.

Unsex Me Here is a prayer book tied together by the strings of a corset. Glamorous ramblers, haunted by the sense of another world drawing near, wander in and out of its inexplicable twilight. From a West Texas town with a supernatural past to a stalactite cavern in the birthplace of Aphrodite, from hotel rooms to gardens to the far horizon of a thought, they seek the source of the disturbance in their minds. Heartbreak is not so far from rapture; holy babble is another kind of gossip. Every pilgrimage is as dense with symbolism as it is refined by desire.