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Cover of Letters on the Autonomy Project

Dead Letter Office

Letters on the Autonomy Project

Janet Sarbanes

€22.00

In the face of rising authoritarianism and on the heels of urgent struggle, autonomy calls to us. How might we excavate the theory and history of autonomous politics to arrive at new possibilities for radical democracy and the radical imaginary? How can we rethink the ways in which artistic autonomy is theorized and practiced beyond the shrunken horizon of liberal individualism? How might we understand political and artistic autonomies as linked, rather than diametrically opposed? And what role does radical pedagogy have to play in all of this?

Framed by the thought of Cornelius Castoriadis, and engaging with Marxist, Black Radical, and Feminist approaches to liberation, as well as movements such as Occupy, Black Lives Matter, Me Too, Letters on the Autonomy Projectunderstands autonomy to be the capacity of a society, a community or an individual to modify its form. As Castoriadis argues, the struggle for self-determination requires unlimited questioning of the way things are, but also that we do or make something new in light of this interrogation. Autonomy is thus equally a project for thought, for education, for politics, and for art.

Stylistically, these open letters, addressed inclusively to artists, activists, and academics, are modeled on the philosophical letters of Friedrich Schiller on the one hand and the revolutionary communiqués of the Zapatistas on the other. Performing a kind of writing-as-praxis, they seek to grasp the potential of our moment with reference to historical and contemporary instances of political autonomy, notions of artistic autonomy, and art practices that connect the two. They also look at the possibilities of educating for autonomy, which cannot itself be taught. If we are indeed living in a time of creative struggle to remake the whole of society, then an understanding of the autonomy project – and how theory, pedagogy, activism, and art might contribute to it – is of burning relevance.

Janet Sarbanes is the author of the short story collections Army of One and The Protester Has Been Released. 

Published in 2022 ┊ 198 pages ┊ Language: English

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Cover of Postmortem issue 1

Self-Published

Postmortem issue 1

Marina Mardas, François Peyroux and 1 more

Periodicals €42.00

How can we define and document our present? 

Postmortem is a sensitive yet critical metaphor for a world suspended between collapse and reinvention—a diary of the now. Drawing together writers and artists from Europe and the SWANA region, this issue locates areas of tension that define our era. Far from a mere dialogue between regions, it exposes the inner and outer fractures of Western hegemony, unearthing shared emotions. 

From reclaiming histories and narratives in the Arab world to deconstructing digital spaces as arenas of control and resistance—even exposing systemic exclusions embedded in blood donation policies—contributors reveal these tensions as a fertile terrain for dialogue and reflection. 

Through critical essays, narrative writing, poetry, interviews, and contemporary art, the concept of Postmortem unfolds an in-between state where death and rebirth occur simultaneously. Across three interwoven chapters—Metaconnexion, Dissociation, and Fragmentation—the issue engages radically with body politics, othering, post-orientalism, surveillance, decoloniality, freedom, and resistance. 

Both a chronicle and a hybrid object where text, design, and image interact, Postmortem archives a world in flux. Rather than prognosticate, it dissects the present as the essential site for reimagining our future. 

Contributors : Sara El-Jazara, François Peyroux, Nadine Makarem, Soukaina Melhaoui, Louise Mervelet, Manon Schaefle, Marina Mardas, Irina Breitenstein, Amer Al-Dakar

Cover of Rage Assassine: Mettre Fin au Racisme

Éditions Divergences

Rage Assassine: Mettre Fin au Racisme

bell hooks

Avant que Black Lives Matter et #MeToo ne viennent secouer l’Amérique et le monde occidental, bell hooks montrait, dans cet essai incisif, que l’abolition du racisme et l’éradication du sexisme vont de pair. Sans le féminisme, la lutte antiraciste reste une affaire d’hommes. Sans l’antiracisme, le féminisme s’expose à servir de courroie aux logiques de domination raciale. L'autrice insiste sur le bien-fondé de la rage qui anime les masses populaires et la jeunesse noire et sur la nécessité d’en faire un moteur de changement social radical. Elle propose une théorie et une pratique révolutionnaires, dont la fin est une communauté solidaire fondée sur l’égalité réelle et la volonté de tou.te.s de travailler au changement.

Traduit de l'anglais par Ségolène Guinard.

GLORIA JEAN WATKINS, connue sous son nom de plume BELL HOOKS, née en 1952, est une intellectuelle, féministe, et militante étasunienne. Elle a publié plus de trente livres et de nombreux articles, et est apparue dans plusieurs films documentaires. Traduits dans de nombreuses langues, ses ouvrages sont considérés parmi les plus importants sur la question aux Etats-Unis et suscitent un réel engouement en France depuis quelques années. Les éditions divergences ont déjà traduit et publié trois de ses ouvrages dont La volonté de changer et A propos d'amour.

Cover of In Pursuit of Revolutionary Love: Precarity, Power, Communities

Divided Publishing

In Pursuit of Revolutionary Love: Precarity, Power, Communities

Joy James

Violence is arrayed against us because we’re Black, or female, or queer, or undocumented. There is no rescue team coming for us. With that knowledge, we need a different operational base to recreate the world. It is not going to be a celebrity savior. Never was, never will be. If you’re in a religious tradition that is millennia-old, consider how the last savior went out. It was always going to be bloody. It was always going to be traumatic. But there’s a beauty to facing the reality of our lives. Not our lives as they’re broken apart, written about, and then sold back to us in academic or celebrity discourse. But our lives as we understand them. The most important thing is showing up. Showing up and learning how to live by and with others, learning how to reinvent ourselves in this increasing wasteland. That’s the good life.

Foreword by Da’Shaun L. Harrison.
Afterword by Mumia Abu-Jamal.

"Joy James’s Revolutionary Love is umph-degree love; or love beyond measure. It is anything love. It is love without reckoning. It is love that dares all things, beyond which others may find the spirit-force to survive; to live to fight another day. Such love is also fighting itself, for the sake of ensuring that others may live." — Mumia Abu-Jamal

Cover of À perte de mère – Sur les routes atlantiques de l'esclavage

Brook

À perte de mère – Sur les routes atlantiques de l'esclavage

Saidiya Hartman

Saidiya Hartman traces the history of the Atlantic slave trade by recounting a journey she took along a slave route in Ghana. Following the trail of captives from the hinterland to the Atlantic coast, she reckons with the blank slate of her own genealogy and vividly dramatizes the effects of slavery on three centuries of African and African American history.

Saidiya Hartman, professor of English and comparative literature at Columbia University, is a scholar of African American literature and cultural history.

Preface by Maboula Soumahoro.

Translated from the English (American) by Maboula Soumahoro (original title: Lose Your Mother. A Journey Along The Atlantic Slave Route, Farrar, Straus and Giroux, 2007).

Cover of The Sense of Brown

Duke University Press

The Sense of Brown

José Esteban Muñoz

The Sense of Brown is José Esteban Muñoz's treatise on brownness and being as well as his most direct address to queer Latinx studies. In this book, which he was completing at the time of his death, Muñoz examines the work of playwrights Ricardo Bracho and Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania Bruguera, and singer José Feliciano, among others, arguing for a sense of brownness that is not fixed within the racial and national contours of Latinidad.

This sense of brown is not about the individualized brown subject; rather, it demonstrates that for brown peoples, being exists within what Muñoz calls the brown commons—a lifeworld, queer ecology, and form of collectivity. In analyzing minoritarian affect, ethnicity as a structure of feeling, and brown feelings as they emerge in, through, and beside art and performance, Muñoz illustrates how the sense of brown serves as the basis for other ways of knowing and being in the world.