La condición postnatural

Xenofiction proposes an exercise of placing our imagination—and with it our body—inside another's perspective. When we practice becoming with another's experience, we practice empathy. Even though every time we try to speak through a non-human voice we have to accept the impossibility of truly inhabiting another being's vital experience, we can find ways through creative practice to expand the way we sympathize and empathize. This anthology convenes twelve short stories and a visual essay by writers and non-writers that have experimented with plan embodiment.

With texts by: Alice Ahad, Bianca Baldi, Fatma Belkis, Alix Breda, Kai Edwards, Anastasia Eggers, Katie Goss + Rebecca Reynolds, Moselle K, Evie Muir, Yuri Pascacio Montijo, Christian Salablanca Diaz, Javier Velázquez Cabrero and Josfina Vidal Miranda.

Collections Typologie reveal a new issue devoted to the Camping Tent. A common motif in both rural and urban landscapes, the tent is a ubiquitous typology whose apparent simplicity is deceptive. Halfway between the architecture we manipulate and the furniture we live in, the tent covers a wide range of uses and brings together heterogeneous realities. Reminiscent of primitive huts, descended from military encampments, shelter for leisure or refuge, precarious yet resistant, protective yet porous, tents are used in both delineated and extreme environments. Simply assembled from ultra-high-performance materials, they are designed in the West and produced in Southeast Asia. Even more than the single-material objects studied in previous Typologie reviews, this composite object makes us aware of the complex nature of the things that surround us. 

The book is composed of 136 pages and published both in a French and an English version. As in the former issues, the first part of the book gather a collection of 60 tents from all around the world showing the wide diversity of shape of this object. This part is carefully photographed and reproduced in black and white along 88 pages. 

The second part of the book put together an introduction text by journalist Sina Sohrab and a crossed interview between three professionals who are sensitive to and knowledgeable about it: Olivier Sirost, historian and sociologist specialized in Camping, Anna Ferrino, director of the Italian company Ferrino, the oldest manufacturer of tent in Europe and Raphael Têtedoie, a designer of outdoor gears and expert in tent.  

This section, which spans 48 pages, is illustrated with a photo report from a Chinese factory, archival images, and a photographic series by Anaick Lejart and Marine Armandin.

Texts by Sina Sohrab, Olivier Sirost, Anna Ferrino, Raphaël Têtedoie.

Weaving together the matter of geology, migration, and computation, kathy wu’s debut book She Will Last as Long as Stones mines data from the United States Geological Survey, pairing it with (mis)translations of conversations with the author’s mother, narratives of racialized and gendered labor, and elegies on end-of-life care. Through text, photo-collage, and diagrammatic circuitry, wu mobilizes language toward the edges of things, where glitch and failure meet grief, outpour.

kathy wu's She Will Last as Long as Stones is the 2024 Open Reading Period Book Prize winner, and was selected by guest judge Bhanu Kapil. 

kathy wu is a Chinese–American artist, poet, and designer living in Providence, Rhode Island, on Narragansett land. She works across digital media, fiber, book arts, and language to pull at histories of science and technology. Her work has appeared via The New School, Dialogist, Rain Taxi, NatBrut, and Tilted House, and has been anthologized by Fonograf Editions and Nightboat Books. She has been awarded fine arts residencies at Blue Mountain Center, Black Mountain College Museum, and Pao Arts Center. She currently teaches full-time at Rhode Island School of Design (RISD), and holds an MFA from Brown University’s Literary Arts program.

She Will Last as Long as Stones has the inter-genre brilliance of asking where materials originate, and following that question until writing becomes a kind of listening with stone, with metal, for magnetic reverberations, for the thinking at the back of the cave.
— Bhanu Kapil

There just might be currents coursing through landscape, language, software, and labor—presences that escape extraction and will not be denied. She Will Last as Long as Stones looks into the multiple temporalities and operations of many things: material place, mining, social and scientific documentation, computation, migrant women's work, and mother-daughter relations, constellating them into a poetics of wondrous design and resonant beauty. 
— Kimberly Alidio

She Will Last as Long as Stones is a subtle circuit that conducts a charge but (paradoxically) remains open. wu's intricate parataxis offers readers fertile resistance, while simultaneously leading us to grounded revelations about the intertwined materialities of technology, language, and memory.
— Allison Parrish

A beautiful compilation of poems, stories, essays, talks, and illustrations by Ursula K. Le Guin. Edited and designed by Conner Bouchard-Roberts. 

With additional essays on Le Guin's thinking and craft by: adrienne maree brown, Isabelle Stengers, Moe Bowstern, Lola Milholland, Nisi Shawl, David Naimon, Mary Anne Mohanraj, Margaret Killjoy, Julie Phillips, and Harold Bloom.

This book serves as the companion publication to a gallery exhibition, of the same name, about Ursula’s life and work, showing at Oregon Contemporary Museum (from Nov 1st 2025 - Feb 8th 2026 in Portland, OR) curated by the Author’s son, Theo Downes-Le Guin.

In This Household of Earthly Nature poet and poetic essayist Cody-Rose Clevidence delves into the far reaches of our planet, from homestead to information theory, from ancient history to global economics to possible futures, connecting all things; Walmart, shipping lanes, what it means to have family, friends and memories, to labor, love, to ways of knowing, and all of us together inside these vast and shifting networks. Rooted firmly in the Anthropocene, in the fragmented and information-dense internet-connected world and also in their own rural daily life, this essay-poem charts a mind grappling with what it means to be alive now, in this particular time in our planet's and our species' evolution, from the domestication of the first grain to whatever is inevitably coming next.

A Book for Disappearance explores themes of extinction and ecology through the lens of contemporary technology and using AI and image-generation platforms as collective tools. It grapples with the contradictions of living in this world full of worlds and full of crises, while revindicating processes of nomadic becoming, transcending fixed identities, and collective emergence. While disappearance may seem abstract or esoteric, it has tangible implications for both individual and collective action. In this book, the concept of disappearance emerges as an alternative, including a variety of short poetic and experimental texts on the multiple possibilities that surface from our engagement with AI alter-egos and a collective artistic exercise with image generation technologies.

Texts by Laura Tripaldi, Institute of Queer Ecologies, and Stacy Alaimo provide further food for thought, and invite readers into recondite explorations—of parasitic spaces and ghost bodies through materialist feminisms; of oak archives and the previous lives that forests can narrate to us; of acid oceans and the psychedelic trips they might afford.

The new publication triangulates between geopoetics, geopolitics, and cultural geography; a 464 page issue with some 50 contributors as well as a large section on Swedish philosophical geographer Gunnar Olsson.