My Work

Nova Scotia House takes us to the heart of a relationship, a community and an era, both a love story and a lament. 

In this profound meditation on grief, Johnny looks back at his relationship with his life partner, Jerry, after his AIDS-related death. When they met, nearly thirty years ago, Johnny was 19, Jerry was 45. They made a life on their own terms in Jerry’s flat: 1, Nova Scotia House. Johnny is still there today—but Jerry is gone, and so is the world they knew. 

Intimate, visionary, and profoundly original—as well as raw, hot, and hilarious—Nova Scotia House marks the debut of a vibrant new voice in contemporary fiction.

In Água Viva Clarice Lispector aims to 'capture the present'. Her direct, confessional and unfiltered meditations on everything from life and time to perfume and sleep are strange and hypnotic in their emotional power and have been a huge influence on many artists and writers, including one Brazilian musician who read it one hundred and eleven times. Despite its apparent spontaneity, this is a masterly work of art, which rearranges language and plays in the gaps between reality and fiction.

Clarice Lispector (December 10, 1920 – December 9, 1977) was a Brazilian writer acclaimed internationally for her innovative novels and short stories. Born to a Jewish family in Podolia in Western Ukraine, as an infant she moved to Brazil with her family, amidst the disasters engulfing her native land following the First World War. 

In The Hundreds Lauren Berlant and Kathleen Stewart speculate on writing, affect, politics, and attention to processes of world-making.

The experiment of the one hundred word constraint, each piece is one hundred or multiples of one hundred words long, amplifies the resonance of things that are happening in atmospheres, rhythms of encounter, and scenes that shift the social and conceptual ground.

What's an encounter with anything once it's seen as an incitement to composition? What's a concept or a theory if they're no longer seen as a truth effect, but a training in absorption, attention, and framing? 

The Hundreds includes four indexes in which Andrew Causey, Susan Lepselter, Fred Moten, and Stephen Muecke each respond with their own compositional, conceptual, and formal staging of the worlds of the book.

New York poet Paul Vaughn has a trick for enjoying poetry readings: He simply imagines the reader died a long time ago. Paul is twenty-seven, married, and an admired poet himself. R. T. Wode’s mission is to give offense. He’s also a poet, freshly landed in the city, and, at age sixteen, unknown.

Paul worships T. They embark on a tempestuous affair, dropping acid and crashing parties and perambulating the grit and grime of New York City circa 1972. Paul is in love with T., but T. is in love with experience. Their relationship disintegrates.

A novel of compelling originality and transcendent beauty by legendary musician and poet Richard Hell, Godlike transposes the notorious romance of Paul Verlaine and Arthur Rimbaud to the East Village in its squalid, glorious ’70s heyday. The book comprises a version of Paul’s 1997 hospital notebooks: diaries amidst poems and essays, along with, most pertinently, the poet’s third-person memoir-novelette of his youthful time with the now-famous T. Godlike is infused as well with evocations—and sometimes actual poems—of many New York poets of the era, from Ted Berrigan and Ron Padgett to Edwin Denby and James Schuyler. It achieves a lyricism both profane and profound as it conjures the frenetic vitality as well as the existential malaise of an era. It’s a searching meditation on art, life, love, and the impossibility of everything.

Insula est un roman d’anticipation aussi intime que spéculatif qui mêle autofiction, confession intime, esthétique queer, jeu vidéo, et une formidable vision apocalyptique du monde contemporain. Insula (île, en latin), c’est d’abord le nom d’un jeu clandestin de réalité augmentée d’un nouveau genre : il suffit d’ingérer une pilule stupéfiante et illégale pour accéder à la simulation. Théo, le narrateur, en apprend l’existence lors d’une fête de cruising queer, au sommet d’un immeuble désaffecté du centre de Londres, dans une atmosphère d’apocalypse. Un garçon s’effondre à ses pieds quelques minutes après avoir consommé la substance, et pleure des larmes de sperme. Mais Théo doit tout interrompre pour se rendre au chevet de son père mourant, dans un hôpital parisien. C’est le moment de la dernière nuit, du dernier souffle et des derniers aveux. Le mot insula revient, cette fois dans la bouche des médecins, pour désigner une partie flottante du cerveau ravagée par la maladie, comme une île qu’on a dans la tête. Alors que les médias annoncent la disparition de plusieurs personnes qui auraient pris une pilule d’insula, l’étau se resserre sur Théo qui se résout à son tour à prendre un cachet prohibé avec l’intuition que les avatars ne sont que des fantômes, et qu’il pourra ainsi retrouver son père dans l’autre monde.

Ce roman aux accents dantesques (vision d’un enfer digital qui n’est que le double du monde réel), entre vertige technologique et exploration du désir, est marqué par la pensée critique du réel et la pop culture (Final Fantasy, Kanye West). Il ouvre un univers parallèle pour raconter l’histoire d’une traversée intime, convoquer des époques, des territoires et des identités multiples, dans une seule et même histoire qui navigue entre témoignage et fantasme. Dystopie, histoire d’amour et de fantômes, enquête et cauchemar, Insula est un portail entre plusieurs dimensions, le vrai et le faux, le réel et le digital, la vie et la mort.