The Feminist Killjoy Handbook: The Radical Potential of Getting in the Way

Max Rabinowitz, a butch lesbian bartender at an East Village club, is shaken when her friend, a transvestite, is murdered. As the community of cross-dressers, drag queens, lesbians, and gay men stand together in the face of this tragedy, Max taps into the activist spirit she thought had disappeared.

Leslie Feinberg is an editor, writer, and political organizer. Stone Butch Blues, Feinberg's first novel, is an internationally acclaimed classic of trans literature. It won the Lambda Award and the American Library Association Lesbian and Gay Book Award. Feinberg's other works Trans Liberation, Trans Gender Warriors, and Transgender have also been at the forefront of the trans movement. Feinberg lives with her wife, Minnie Bruce Pratt, near New York City.

The sequel to Pendleton's acclaimed Black Dada Reader, compiling an anti-canon of radical experimentation and thought.

In 2011, artist Adam Pendleton (born 1984) assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of Black Dada. Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents - an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze -formed a kind of experimental canon, realized through what Pendleton calls radical juxtaposition. In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume.

Source texts by Sara Ahmed, Mikhail Bakhtin, Toni Cade Bambara, Amiri Baraka, Augusto de Campos, Hardoldo de Campos, and Décio Pignatari, Angela Davis, Gilles Deleuze, Julius Eastman, Adrienne Edwards, Clarice Lispector, Achille Mbembe, Philippe-Alain Michaud, Charles Mingus, Piet Mondrian, Leslie Scalapino, Leonard Schwartz and Michael Hardt, Juliana Spahr, Cecil Taylor and Malcolm X.

With a preface by Reni Eddo-Lodge and an introduction by Sara Ahmed.
Audre Lorde (1934-92) described herself as ‘Black, lesbian, mother, warrior, poet’. Born in New York, she had her first poem published while still at school and her last the year she died of cancer. Her extraordinary belief in the power of language – of speaking – to articulate selfhood, confront injustice and bring about change in the world remains as transformative today as it was then, and no less urgent. This edition brings Lorde’s essential poetry, speeches and essays, including ‘The Master’s Tools Will Never Dismantle the Master’s House’, together in one volume for the first time.

‘I am concerned with the power of sound! and what it can do to the body and the mind,’ wrote composer Pauline Oliveros. In the body, histories and politics come together with sound and listening, memory and feeling. Bodies of Sound offers a resonant exploration of feminist sonic cultures and radical listening in over fifty contributions. In this book of echoes, a variety of forms – from essays to text scores to art, fiction and memoir – speak across gender, ways of knowing, witnessing, sounding and voicing, translation, displacement, violence and peace.

With contributions from: 

Sara Ahmed, Ximena Alarcón, Svetlana Alexievich, Ain Bailey & Frances Morgan, Anna Barham, Xenia Benivolski, Leanne Betasamosake Simpson & Kite, Elena Biserna, Karen Barad & Black Quantum Futurism, Anne Bourne, Daniela Cascella, Theresa Hak Kyung Cha, Maria Chávez, Don Mee Choi, Carson Cole Arthur, Petero Kalulé & AM Kanngieser, Lindsay Cooper, Julia Eckhardt, Lucia Farinati & Claudia Firth, Ella Finer, Annie Goh, Louise Gray, Christina Hazboun, Johanna Hedva, Sarah Hennies, Tomoko Hojo, IONE, Lee Ingleton, Hannah Catherine Jones, Christine Sun Kim, Nat Lall, Cathy Lane, Jeanne Lee & Lona Foote, Marysia Lewandowska, Annea Lockwood & Jennifer Lucy Allan, Cannach MacBride, Elaine Mitchener & Hannah Kendall, Alison O'Daniel, Naomi Okabe, Pauline Oliveros, Daphne Oram, Gascia Ouzounian, Holly Pester, Roy Claire Potter, Anna Raimondo, Tara Rodgers, Aura Satz & Barbara London, Shortwave Collective, Sisters of the Order of Celestial Nephology, Sop, Syma Tariq, Marie Thompson, Trinh T. Minh-ha & Stoffel Debuysere, Salomé Voegelin

Hackers, scholars, artists and activists of all regions, races and sexual orientations consider how humans might reconstruct themselves by way of technology.

When learning about internet history, we are taught to focus on engineering, the military-industrial complex and the grandfathers who created the architecture and protocol, but the internet is not only a network of cables, servers and computers. It is an environment that shapes and is shaped by its inhabitants and their use.

The creation and use of the Cyberfeminism Index is a social and political act. It takes the name cyberfeminism as an umbrella, complicates it and pushes it into plain sight. Edited by designer, professor and researcher Mindy Seu (who began the project during a fellowship at the Harvard Law School's Berkman Klein Center for the Internet & Society, later presenting it at the New Museum), it includes more than 1,000 short entries of radical techno-critical activism in a variety of media, including excerpts from academic articles and scholarly texts; descriptions of hackerspaces, digital rights activist groups, bio-hacktivism; and depictions of feminist net art and new media art.

Contributors include: Skawennati, Charlotte Web, Melanie Hoff, Constanza Pina, Melissa Aguilar, Cornelia Sollfrank, Paola Ricaurte Quijano, Mary Maggic, Neema Githere, Helen Hester, Annie Goh, VNS Matrix, Klau Chinche / Klau Kinky and Irina Aristarkhova.

Electrifying, provocative, and controversial when first published thirty years ago, Donna Haraway's "Cyborg Manifesto" is even more relevant today, when the divisions that she so eloquently challenges—of human and machine but also of gender, class, race, ethnicity, sexuality, and location—are increasingly complex. The subsequent "Companion Species Manifesto," which further questions the human-nonhuman disjunction, is no less urgently needed in our time of environmental crisis and profound polarization.

Manifestly Haraway brings together these momentous manifestos to expose the continuity and ramifying force of Haraway's thought, whose significance emerges with engaging immediacy in a sustained conversation between the author and her long-term friend and colleague Cary Wolfe. Reading cyborgs and companion species through and with each other, Haraway and Wolfe join in a wide-ranging exchange on the history and meaning of the manifestos in the context of biopolitics, feminism, Marxism, human-nonhuman relationships, making kin, literary tropes, material semiotics, the negative way of knowing, secular Catholicism, and more.

The conversation ends by revealing the early stages of Haraway's "Chthulucene Manifesto," in tension with the teleologies of the doleful Anthropocene and the exterminationist Capitalocene. Deeply dedicated to a diverse and robust earthly flourishing, Manifestly Haraway promises to reignite needed discussion in and out of the academy about biologies, technologies, histories, and still possible futures.

Donna J. Haraway is distinguished professor emerita in the History of Consciousness Department at the University of California, Santa Cruz, where she is also affiliated with the departments of anthropology, feminist studies, environmental studies, and film and digital media. She is an active participant in UCSC's Science and Justice Research Center and the Center for Cultural Studies.

Published 2016

Invitation au voyage à travers l’œuvre littéraire de Monique Wittig, ce livre nous embarque dans une passionnante exploration de ses textes de fiction, de L’opponax à Virgile, non. Il rend compte de la lutte amoureuse qu’elle livre au langage – matériau brut qu’elle travaille au corps pour faire advenir dans la réalité ce qui n’y a pas (encore) droit de cité. La convocation malicieuse et grave des grands récits du passé, les nombreux emprunts aux auteurs anciens, la pratique de la citation font des Guérillères une formidable épopée féministe, du Corps lesbien un Évangile selon Sappho, du Voyage sans fin le combat drôle et tragique d’une Quichotte féministe et lesbienne.

En soulignant la cohérence des textes et leur fragmentation, Catherine Écarnot met en évidence la passion poétique qui habite ces livres que Wittig concevait comme des « chevaux de Troie » : des machines de guerre destinées à fissurer la réalité pour y inscrire une subjectivité mouvante, échappée du continent noir de la féminité, rétive aux assignations de genre. Uniques et radicalement disruptives, les fictions ainsi créées ouvrent grands les chemins qui relient littérature et lesbianisme.

Publié pour la première fois en 2002, cet ouvrage, le premier consacré en Europe à l’œuvre witigienne, reparaît dans une nouvelle édition remaniée, actualisée et enrichie de nombreuses références aux études publiées depuis sa parution.

From the 1970s through the 1990s more than one hundred feminist bookstores built a transnational network that helped shape some of feminism's most complex conversations. Kristen Hogan traces the feminist bookstore movement's rise and eventual fall, restoring its radical work to public feminist memory. The bookwomen at the heart of this story—mostly lesbians and including women of color—measured their success not by profit, but by developing theories and practices of lesbian antiracism and feminist accountability.

At bookstores like BookWoman in Austin, the Toronto Women's Bookstore, and Old Wives' Tales in San Francisco, and in the essential Feminist Bookstore News, bookwomen changed people's lives and the world. In retelling their stories, Hogan not only shares the movement's tools with contemporary queer antiracist feminist activists and theorists, she gives us a vocabulary, strategy, and legacy for thinking through today's feminisms.