Silicone God

“I wrote (more or less, for promises are always hard to keep, even those made to oneself ) for five days a week for a year. I wrote no more than a page, or rather, I wrote only for the length of the analytic hour, fifty minutes (though I also practiced the variable session at times)… I followed Freud’s model of train travel for his theory of free association, acting ‘as though, for instance, [you were] a traveller sitting next to the window of a railway carriage and describing to someone inside the carriage the changing views which [you] see outside’. As for my characters, many of their names begin with A. Some of these women exist or existed, others are from fiction, or write fiction. Some are friends or acquaintances. None are credited but a keen reader could recognise many of them. I invented nothing. I am the aleph.”

It’s fall (or autumn) 2018. The Trump administration wants to fortify the United States-Mexico border, Robert ‘Beto’ O'Rourke is running for Senate, and British grifter Nicki Smith has just secured a “low-paid glamour job” at the University of Texas’ Jacques Lacan Foundation. In between sleeping with the air-conditioning repair guy (or man) and watching Kate Moss make-up commercials (or advertisements) Nicki completes the first ever American-English translation of Lacan’s newly discovered and highly controversial notebook – without knowing any French.

An Anglo-American comedy of manners about identity and class The Jacques Lacan Foundation reveals—and revels in—the numerous pretensions that surround academia and authorship, and the institutions that foster them.

Know Thy Audience, Nadia de Vries’ third poetry collection, disavows the platitude from which it takes its name and makes the reader complicit in both her aggression and her submission, sparked by a history of domestic abuse that escapes all euphemism and metaphor – but not poetry altogether.

Speaking—or rather, singing—as a ‘battered woman’ from a working-class neighborhood, De Vries’ aphoristic writing belies a vengeful reversal of roles in which the author—and not her perpetrator—pulls the strings. Who is the victim in these poems? Can violence be redeemed through esthetic metamorphosis? Or can powerlessness only be transferred as fetish? Know Thy Audience investigates the extent to which a victim can share their wounds, and to what degree an audience can—sensibly, ethically—be burdened with painful knowledge.

Malory walks home after an ordinarily gruelling night out, having escaped the company of her associates. Something ripples in the darkness. The shape of a figure. So begins a chain of events with the texture of dream plasma. A story of persecution mania. Professional ignominy. A sudden disappearance. The terror of seeing oneself too clearly...

Part horror story, part tragicomic nightmare, Ghost Driver is a slim shudder of a novel about a woman who has taken every wrong turn available to her.

Vesicapiscis details a poetics of self-reflection / self-projection. What cannot be defined is pulled into the body, examined, dissected, regurgitated. Its form is prodded and rearranged. Every word / phrase / sentence is suseptible to mutation. And these mutations inevtiably proliferate onto the speaker's tongues, their throat, deep into their nervous system. Language is a virus, and as such, it must be studied.

Here we are, at the abyss.

Narrative of the Life of Frederick Douglass is an 1845 memoir and treatise on abolition written by famous orator and former slave Frederick Douglass during his time in Lynn, Massachusetts. It is generally held to be the most famous of a number of narratives written by former slaves during the same period. In factual detail, the text describes the events of his life and is considered to be one of the most influential pieces of literature to fuel the abolitionist movement of the early 19th century in the United States. Narrative of the Life of Frederick Douglass encompasses eleven chapters that recount Douglass's life as a slave and his ambition to become a free man.

In the tradition of Suhrkamp Verlag and Penguin Classics, Domain offers a series of elegantly designed pocketbooks, conceived as a starter kit for radical liberatory thought. The pocketbooks are individually crafted with custom book jackets tailored to each individual buyer; every purchase receipt supplying the raw material for each design. The online fulfillment system leverages the graphic language of the US Postal Service for each cover and packaging design.

More info on domainbooks.org

The first book devoted to the late African American writer and actress, Dorothy Dean, one of the few prominent African American women of New York City's bohemian heyday, close to Andy Warhol and Robert Mapplethorpe.

This second release from Éditions 1989 features Dorothy Dean's unpublished writing and selected correspondence with Edie Sedgwick, Rene Ricard, and Taylor Mead, among other friends and artists. This volume also includes Dean's transcendent script of an unrealized film starring Factory actor, Ondine.

Lyrical, humorous, political, and brutally honest, Who Are You Dorothy Dean? is a tribute to one of the few prominent African American women of New York City's bohemian heyday.

Dorothy Dean (1932-1987) was an African American writer and actress. She entered the 1960s New York underground scene and quickly became one of its key, if overlooked, figures, starring in six of Andy Warhol's films and inspiring the likes of Robert Mapplethorpe and Robert Creeley. Presumably the first woman ever hired as fact-checker at The New Yorker, Dean held brief editorial and proofreading positions at publications such as Vogue before launching her very own bulletin of film reviews, the All-Lavender Cinema Courier, in 1976.

Edited by Anaïs Ngbanzo.
Texts by Dorothy Dean, Edie Sedgwick, Robert Creeley, Gerard Malanga, Rene Ricard, Taylor Mead, et al.
Translated from the English (American) by Rachel Valinsky.

What do you worship? What claims your time, your faith, your silence? What are the icons you carry, the relics you protect, the devotions that define you?

For our inaugural issue, we invite you to reflect on the objects, ideas, rituals, and obsessions that shape your devotion. Worship is not confined to temples or texts, it flickers in longing glances, whispered prayers, silent routines, and fervent beliefs. It can be sacred or profane, communal or solitary, chosen or inherited.

We encouraged our writers and artists to interpret this theme freely, critically, emotionally, playfully, or abstractly. Whether they explored worship through fiction, nonfiction, poetry, visual art, or hybrid forms, we were looking for work that comforts, commands, or consumes.

This issue features art and writing from: Triinu Silla, Michel Krysiak, Anna Tracey, Antonina Anna Kubicka, Ari Wentz, Jonathan David Sijl, Renacuajo Sánchez, Florence Hutchinson, Marta Calero Segura, Eden Ridout, Artémis Toumi, Simone Viola, Zoe Pappouti, Laura Soto Sánchez, Autumn Anderson, Woodkern, Cathal McGuire, Nena Pawletko, Ignacio Aguilera, Marine Victoria Lobos Garay, Andreea Luță, Isabel Ferreras González, Rafael Torrubia, Emilia Tapia, KC Willis, Simon Jin, Jacky Weerman, Róisín Gallagher, and Rin Anishchanka.