The Complete C Comics

Starting in 1970, Jean Genet—petty thief, prostitute, modernist master—spent two years in the Palestinian refugee camps in Jordan. Always an outcast himself, Genet was drawn to this displaced people, an attraction that was to prove as complicated for him as it was enduring. Prisoner of Love, written some ten years later, when many of the men Genet had known had been killed, and he himself was dying, is a beautifully observed description of that time and those men as well as a reaffirmation of the author’s commitment not only to the Palestinian revolution but to rebellion itself. For Genet’s most overtly political book is also his most personal—the last step in the unrepentantly sacrilegious pilgrimage first recorded in The Thief’s Journal, and a searching meditation, packed with visions, ruses, and contradictions, on such life-and-death issues as the politics of the image and the seductive and treacherous character of identity. Genet’s final masterpiece is a lyrical and philosophical voyage to the bloody intersection of oppression, terror, and desire at the heart of the contemporary world.

A widowed writer begins to work on a biography of a novelist and artist—and soon uncovers bizarre parallels between her life and her subject’s—in this chilling and singularly strange novella by a contemporary master of horror and fantasy.

The narrator of Lisa Tuttle’s uncanny novella is a recent widow, a writer adrift. Not only has she lost her husband, but her muse seems to have deserted her altogether. Her agent summons her to Edinburgh to discuss her next book. What will she tell him? At once the answer comes to she will write the biography of Helen Ralston, best known, if at all, as the subject of W.E. Logan’s much-reproduced painting Circe , and the inspiration for his classic children’s book.

But Ralston was a novelist and artist in her own right, though her writing is no longer in print and her most storied painting too shocking, too powerful—malevolent even—to be shown in public. Over the months that follow, Ralston proves a reluctantly cooperative subject, even as her biographer uncovers eerie resonances between the older woman’s life and her own. Whose biography is she writing, really?

A moving story about love, AIDS, grief, and memory by one of the most adventurous writers to come out of San Francisco's LGBTQ+ scene.

Bob Glück met Ed Aulerich-Sugai in 1970. Ed was an aspiring artist; Bob wanted to write. They were young men in San Francisco at the high tide of sexual liberation and soon, and for eight years, they were lovers, after which they were friends. Ed was an explorer in the realms of sex. He was beautiful, fragile, exasperating, serious, unassuaged. In 1994 he died of HIV. His dream notebooks became a touchstone for this book, which Glück has been working on for some two decades, while also making his name as a proponent of New Narrative writing and as one of America's most unusual, venturesome, and lyrical authors. About Ed is about Ed, who remains, as our dead do, both familiar and unknowable, faraway and close. It is about Bob too.

The book is a hybrid, at once fiction and fact, like memory, and it takes in many things through tales of political activism and domestic comedy and fury to questions of art and love and experiences of longing and horror. The book also shifts in register, from the delicate to the analytic, to funny and explicit and heartbroken. It begins in the San Francisco of the early 1980s, when Ed and Bob have been broken up for a while. aIds is spreading, but Ed has yet to receive his diagnosis. It follows him backward through his life with Bob in the 1970s and forward through the harrowing particulars of death. It holds on to him and explores his art. It ends in his dreams.

First published in 1994, Robert Glück’s Margery Kempe is one of the most provocative, poignant, and inventive American novels of the last quarter century.

The book tells two stories of romantic obsession. One, based on the first autobiography in English, the medieval Book of Margery Kempe, is about a fifteenth-century woman from East Anglia, a visionary, a troublemaker, a pilgrim to the Holy Land, and an aspiring saint, and her love affair with Jesus. It is complicated. The other is about the author’s own love for an alluring and elusive young American, L. It is complicated. Between these two Margery Kempe, the novel, emerges as an unprecedented exploration of desire, devotion, abjection, and sexual obsession in the form of a novel like no other novel.

Robert Glück’s masterpiece bears comparison with the finest work of such writers as Kathy Acker and Chris Kraus. This edition includes an essay by Glück about the creation of the book titled "My Margery, Margery's Bob."

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.

Partie sur les sites de la dernière briqueterie artisanale de Riemst et de la recyclerie de briques d'Alexander van Mosselaer, Juliet Mérie en ramène un récit poétique qui explore notre rapport à la matière vivante et questonne le cours de la vie. 

Loin d'être un documentaire, ses photographies créent un rapport ambigu entre la perception des espaces visités et l'allégorie qui s'installe. La possière se soulève pour dévoiler les lieux de vie et de mort des briques qui dessinent le paysage belge. 

Injecting the disruptive potential of collective action into the body of the poem, Nat Raha's invigorating experiment resuscitates Anglophone poetry.

Amidst the violence of capitalism and state and imperial power, there is Nat Raha's apparitions (nines) in its "charred golden minidress," ushering us into a space of grief and resistance, the embodiment and intimacy of queer, trans, and diasporic Black and brown people. Written as a series of "niners," a poetic form consisting of nine nine-syllable lines, apparitions (nines) is at once a brash and subversive rejoinder to the Anglophone sonnet, as well as an ode to beauty, collectivity, and tenderness which emerges from—and far surpasses—constraint.

"These poems are eccentric in the most literal sense, Raha’s writing pushing at the edges of the mainstream of poetry, presenting a punk, transfeminist revision of poetic norms. . . apparitions (nines) deserves to be read—for its insights and newness, and the studs of pleasure it doles out." - Lou Selfridge, Frieze

“Welcome the poems that split us open, ‘frequencies/ to be removed from the air.’ Nat Raha has sharpened the lines, their serrated letters leaving us marked, poems to touch again on the skin, feel our doom undo its direction for enduring solidarity; the best love.” - CAConrad

Dr Nat Raha is a poet and activist-scholar whose previous books of poetry include of sirens, body & faultlines (2018), countersonnets (2013), and Octet (2010). Her work has appeared in 100 Queer Poems (2022), We Want It All: An Anthology of Radical Trans Poetics (Nightboat, 2020), Liberating the Canon: An Anthology of Innovative Literature (2018), on Poem-a-Day, and in South Atlantic Quarterly, TSQ: Transgender Studies Quarterly, Transgender Marxism,and Wasafiri Magazin. With Mijke Van der Drift, she co-edits the Radical Transfeminism zine and has co-authored articles for Social Text, The New Feminist Literary Studies, and the book Trans Femme Futures: Abolitionist Ethics for Transfeminist Worlds. Nat completed her PhD in queer Marxism at the University of Sussex, and is Lecturer in Fine Art Critical Studies at the Glasgow School of Art.

The 71 storyboards in this publication are the result of a collaborative process between G.C. Heemskerk and Bernice Nauta, and function as the foundation for their short film The Plantiarchy (2025). The project proposes a parallel reality in which the relation between plants and humans are drastically transformed. In this proposed universe, the plant is the protagonist: it playfully and critically tells a story of colonial expansion, botany, more-than-human eroticism and speculative plant-sentience, flipping the historicised script of control and dependency.

The Plantiarchy comprises a residency period at Hotel Maria Kapel (Hoorn, NL) and various exhibitions including Museum de Lakenhal (Leiden, NL), IKOB Museum (Eupen, BE) and Marres (Maastricht, NL), followed by the short film which premiered at Go Short (Nijmegen, NL) in 2025.

Introduction by Annosh Urbanke
Edited by Jan-Pieter ‘t Hart
Designed by Tjobo Kho with Lucas M. Franco & Vlad Omelianenko

Jocelyn Saidenberg's third book of poetry begins in a "dusky" wood, but instead of descending to hell she journeys through the negativity of earthly relations. We hear of friends, lovers, and a declining country—all filtered by a consciousness equally troubled by its own suffering and the suffering of others. Saidenberg has written some of the most accomplished, grounded and reflective poetry of the last decade. She is previously the author of CUSP (2001) and MORTAL CITY (1998), and the founder and publisher of Krupskaya Books.

What is real? In Women on Film, Naomi Weber asks why it can be so hard to know. Who or what invents and reinvents the world? Why do we become estranged from each other? Why does everybody hate women, and how do we miss when they’re doing it? Channelling the deep questioning and speculative mode of Cold War-era Rukeyser and Oppen, and torquing it through the ambivalent femininity of Anna Karina’s French new wave, Weber’s poems ask for courage from their reader. They fold the melodrama of an orchestra into the moment when a village acquires a clock. They show us how a thousand minor masculinities are in fact a fucking car crash. Humorous and warm, cutting and bright, Weber is a master of line breaks and charming diction, and she is writing some of the best new work I’ve read in years.
- Amy De’Ath