Split Tooth

From award-winning writer Sarah Schulman, a longtime social activist and outspoken critic of the Israeli war on Gaza, comes a brilliant examination of the inherent psychological and social challenges to solidarity movements, and what that means for the future. 

For those who seek to combat injustice, solidarity with the oppressed is one of the highest ideals, yet it does not come without complication. In this searing yet uplifting book, award-winning writer and cultural critic Sarah Schulman delves into the intricate and often misunderstood concept of solidarity to provide a new vision for what it means to engage in this work—and why it matters. 

To grapple with solidarity, Schulman writes, we must recognize its inherent fantasies. Those being oppressed dream of relief, that a bystander will intervene though it may not seem to be in their immediate interest to do so, and that the oppressor will be called out and punished. Those standing in solidarity with the oppressed are occluded by a different fantasy: that their intervention is effective, that it will not cost them, and that they will be rewarded with friendship and thanks. Neither is always the case, and yet in order to realize our full potential as human beings in relation with others, we must continue to pursue action towards these shared goals. 

Within this framework, Schulman examines a range of case studies, from the fight for abortion rights in post-Franco Spain, to NYC’s AIDS activism in the 1990s, to the current wave of campus protest movements against Israel’s war on Gaza, and her own experience growing up as a queer female artist in male dominated culture industries. Drawing parallels between queer, Palestinian, feminist, and artistic struggles for justice, Schulman challenges the traditional notion of solidarity as a simple union of equals, arguing that in today’s world of globalized power structures, true solidarity requires the collaboration of bystanders and conflicted perpetrators with the excluded and oppressed. That action comes at a cost, and is not always effective. And yet without it we sentence ourselves to a world without progressive change towards visions of liberation. 

By turns challenging, inspiring, pragmatic, and poetic, The Fantasy and Necessity of Solidarity provides a much-needed path for how we can work together to create a more just, more equitable present and future.

The Decent Of Alette is a rich odyssey of transformation in the tradition of The Inferno. Alice Notley presents a feminist epic: a bold journey into the deeper realms. Alette, the narrator, finds herself underground, deep beneath the city, where spirits and people ride endlessly on subways, not allowed to live in the world above. Traveling deeper and deeper, she is on a journey of continual transformation, encountering a series of figures and undergoing fragmentations and metamorphoses as she seeks to confront the Tyrant and heal the world. Using a new measure, with rhythmic units indicated by quotations marks, Notley has created a spoken text, a rich and mesmerizing work of imagination, mystery, and power.

Alice Notley is a poet whose twenty previous titles include The Descent of Alette, Beginning with a Stain, Homer's Art, and Selected Poems. She wrote the introduction for her late first husband Ted Berrigan's Selected Poems. She lives in Paris.

Published 1996.

Vanus übermann des villes, le roi de la ville, le roi du monde, se fait des odes à lui-même et met ses chaussettes dans la pâte à pain. Sophie Couderc raconte quelques-unes de ses péripéties.

Vanus übermann of the cities, the king of the city, the king of the world, writes odes to himself and puts his socks in bread dough. Sophie Couderc recounts some of his adventures.

Je jette le matelas dehors, il rebondit sur trois cons et tombe dans une grosse flaque de jus de rue. Ok, pas mal mais il m’en faut plus. (Vanus)

Carie, comme le trou qu’on bouche au plomb, est une collection de textes courts et moyens qui se glissent dans la poche. Chaque livre (la dent) de la collection (la bouche) est troué (la carie) et cerclé d’un œillet métallique (le plombage).

Carie, like the hole filled with lead, is a collection of short and medium-length texts that slip into the pocket. Each book (the tooth) in the collection (the mouth) is holed (the cavity) and circled with a metal eyelet (the filling).

A punk rock anti-memoir told through the eyes of a biracial Afrolatino punk academic. 

¡PÓNK! follows Moose, an alienated academic and lead guitarist for Pipebomb!, as he navigates through spaces in and out of South East Los Angeles: punk clubs, college classrooms, family gatherings, street protests, and euphoric backyard shows.Oscillating between autofiction, memoir, and lyric, Clayton blurs genres while articulating the layered effects of racism, trauma, immigration, policing, Black hair, performance, and toxic academic language to uncover how one truly becomes an "ally." Borrowing from the spatial lyricism of Claudia Rankine, the genre-bending storytelling of Alexander Chee, and the racial musings of James Baldwin, ¡PÓNK!'s narrative takes back punk rock and finds safe space in the mosh pit.

Inspired by visionaries like Moses, William Blake, and Joseph Smith, Bellamy spent five months in 2009 receiving transmissions from her television set and writing brief commentaries on each. The sutras and commentaries in the present volume are the beginning of an intensive investigation into the nature of religious experience. What are cults? Are they limited to wacko marginal communities, or do we enter one every time we go to work or step into a polling place? What is charisma and why are we addicted to it? Bellamy speaks candidly and intimately to her own experience as a woman, a writer, and former cult member. This commingling of memoir, fiction, collage and essay makes room for horny gurus, visitors from outer space, the tenderness of group life, and maybe the beginnings of a hard-won individualism.

In the twelve stories of Heart Lamp, Banu Mushtaq exquisitely captures the everyday lives of women and girls in Muslim communities in southern India. Published originally in the Kannada language between 1990 and 2023, praised for their dry and gentle humour, these portraits of family and community tensions testify to Mushtaq’s years as a journalist and lawyer, in which she tirelessly championed women’s rights and protested all forms of caste and religious oppression. Written in a style at once witty, vivid, colloquial, moving and excoriating, it’s in her characters – the sparky children, the audacious grandmothers, the buffoonish maulvis and thug brothers, the oft-hapless husbands, and the mothers above all, surviving their feelings at great cost – that Mushtaq emerges as an astonishing writer and observer of human nature, building disconcerting emotional heights out of a rich spoken style. Her opus has garnered both censure from conservative quarters as well India’s most prestigious literary awards; this is a collection sure to be read for years to come.

Winner of the 2025 International Booker Prize.

Soundcloud rapper boyfriends. AA rendezvous.

Singer-songwriter sweethearts. Toxic e-boys.

Suicide pacts. NYU poets.

Flirty coworkers. ASMR girls.

Porn-addicted paramours.

Catholic cliques. Imaginary simps.

Welcome to the world of

FEMALE LONELINESS EPIDEMIC.