The Female Complaint

Performer, activist, and writer Jill Johnston was a major queer presence in the history of dance and 1970s feminism. She was the first critic to identify postmodernism’s arrival in American dance and was a fierce advocate for the importance of lesbians within feminism. In Jill Johnston in Motion, Clare Croft tracks Johnston’s entwined innovations and contributions to dance and art criticism and activism. She examines Johnston’s journalism and criticism—in particular her Village Voice columns published between 1960 and 1980—and her books of memoir and biography. At the same time, Croft attends to Johnston’s appearances as both dancer and audience member and her physical and often spectacular participation at feminist protests. By bringing together Johnston’s criticism and activism, her writing and her physicality, Croft emphasizes the effect that the arts, particularly dance, had on Johnston’s feminist thinking in the 1970s and traces lesbian feminism’s roots in avant-garde art practice.

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.

Throughout this book-length poem, Simone White considers the dynamics of contemporary black feminist life, attesting to the narrative complexities of writing and living as a black woman and artist.

In Or, on being the other woman, Simone White considers the dynamics of contemporary black feminist life. Throughout this book-length poem, White writes through a hybrid of poetry, essay, personal narrative, and critical theory, attesting to the narrative complexities of writing and living as a black woman and artist. She considers black social life—from art and motherhood to trap music and love—as unspeakably troubling and reflects on the degree to which it strands and punishes black women. She also explores what constitutes sexual freedom and the rewards and dangers that come with it. White meditates on trap music and the ways artists such as Future and Meek Mill and the sonic waves of the drum machine convey desire and the black experience. Charting the pressures of ordinary black womanhood, White pushes the limits of language, showing how those limits can be the basis for new modes of expression.

While the stock image of the anarchist as a masked bomber or brick thrower prevails in the public eye, a more representative figure should be a printer at a printing press. In Letterpress Revolution, Kathy E. Ferguson explores the importance of printers, whose materials galvanized anarchist movements across the United States and Great Britain from the late nineteenth century to the 1940s. Ferguson shows how printers—whether working at presses in homes, offices, or community centers—arranged text, ink, images, graphic markers, and blank space within the architecture of the page. Printers' extensive correspondence with fellow anarchists and the radical ideas they published created dynamic and entangled networks that brought the decentralized anarchist movements together. Printers and presses did more than report on the movement; they were constitutive of it, and their vitality in anarchist communities helps explain anarchism’s remarkable persistence in the face of continuous harassment, arrest, assault, deportation, and exile. By inquiring into the political, material, and aesthetic practices of anarchist print culture, Ferguson points to possible methods for cultivating contemporary political resistance.

McKenzie Wark takes readers into the undisclosed locations of New York's thriving queer rave scene, showing how raving to techno is an art and technique at which queer and trans bodies might be particularly adept, but which is for anyone who lets the beat seduce them.

Contents
1. Rave as Practice 
2. Xeno-euphoria 
3. Ketamine Femmunism 
4. Enlustment 
5. Resonant Abstraction 
6. Excessive Machine 

"How to write a book about raving as a practice that practices rave? From k-nights spent on Brooklyn's and Berlin's junkspace dance floors, McKenzie Wark abstracts a life practice of ressociation in a dance of autoconceptualization and allotheorization. In crossing toward the stranger's gift of 'letting go of ourselves as private property, ' Raving is nothing less than Wark's femmunist manifesto, her tractatus on techno's blackness, her treatise for a twenty-first-century trans ethics."—Kodwo Eshun

Who decides what happens after sex? The last decade has seen many significant changes to the laws governing women’s reproductive rights around the world, from liberalisation in Ireland to new restrictions in the USA. After Sex offers personal and political perspectives from the mid-20th century to the present day, setting feminist classics alongside contemporary accounts. These essays, short stories and poems trace the debates and tell the stories; together, they ask us to consider what reproductive justice might look like, and how it could reshape sex.

The writers pay special attention to people — both fictional and real — who have sought control over their sexual lives, and the joy, comedy, difficulties and disappointments that entails. But above all, After Sex testifies to the power of great writing to show us why that freedom is worth pursuing — without shame and without apology.

With contributions from: 
Lauren Berlant, Joanna Biggs, Edna Bonhomme, Gwendolyn Brooks, Beverley Bryan, Stella Dadzie and Suzanne Scafe, Storm Cecile, Lucille Clifton, Rachel Connolly, T.L. Cowan, ’Jane Does’, Maggie Doherty, Nell Dunn, Andrea Dworkin, Anne Enright, Deborah Friedell, Tracy Fuad, Kristen Ghodsee, Vivian Gornick, Donna Haraway, bell hooks, Barbara Johnson, Jayne Kavanagh, Lisa Hallgarten and Angela Poulter, Jamaica Kincaid, Patricia Knight, R.O. Kwon, Ursula K. Le Guin, Natasha Lennard, Sophie Lewis, Audre Lorde, Amelia Loulli, Erin Maglaque, Holly Pester, Adrienne Rich, Denise Riley, Sally Rooney, Loretta J. Ross, Madeleine Schwartz, SisterSong, Sophie Smith, Annabel Sowemimo, Amia Srinivasan, Keeanga-Yamahtta Taylor, Judith Jarvis Thomson, Alice Walker and Bernard Williams.

Drawing on a range of sources, including the fiction of Toni Morrison and Luisa Valenzuela (He Who Searches), Avery Gordon demonstrates that past or haunting social forces control present life in different and more complicated ways than most social analysts presume. Written with a power to match its subject, Ghostly Matters has advanced the way we look at the complex intersections of race, gender, and class as they traverse our lives in sharp relief and shadowy manifestations.

“Ghostly Matters immediately establishes Avery Gordon as a leader among her generation of social and cultural theorists in all fields. The sheer beauty of her language enhances an intellectual brilliance so daunting that some readers will mark the day they first read this book. One must go back many more years than most of us can remember to find a more important book.” —Charles Lemert

'My aim for Mother Reader has been to bring together examples of the best writing on motherhood of the last sixty years, writing that tells firsthand of the mother's experience.

Many of the writings in Mother Reader comment on and interpolate one another, in citations, in footnotes, in direct homage. As I was assembling this collection one text would lead to one another, treasure-hunt fashion, the clue provided by an acknowledgement or bibliography. And just as often the writing circles back.

In Mother Reader chapters are excerpted from autobiographies, memoirs, and novels; entries are lifted from diaries; essays and stories are culled from collections, anthologies, and periodicals. My project has been to assemble a compendium or sampler of these ''kindred spirit'' works on motherhood, so that readers, and especially mothers with limited time on their hands, can access in one volume the best literature on the subject and know where turn to continue reading." [Moyra Davey in the introduction]

Writings by Margaret Atwood, Susan Bee, Rosellen Brown, Myrel Chernick, Lydia Davis, Buchi Emeta, Annie Ernaux, Mary Gaitskill, Susan Griffin, Nancy Hutson, Mary Kelly, Jane Lazarre, Ursula K. Le Guin, Doris Lessing, Ellen McMahon, Margaret Mead, Vivian Montgomery, Toni Morrison, Tillie Olsen, Alicia Ostrker, Grace Paley, Sylvia Plath, Adrienne Rich, Sara Ruddick, Lynda Schor, Mira Schor, Dena Schottenkirk, Mona Simpson, Elizabeth Smart, Joan Snyder, Elke Solomon, Susan Rubin Suleiman, Alice Walker, Joy Williams, Martha Wilson, Barbara Zucker.