The Long Form

In Prairie, Dresses, Art, Other Danielle Dutton imagines new models for how literature might work in our fractured times. Dutton’s writing is as protean as it is beguiling, using the different styles and different spaces of experience to create a collage of the depths and strangeness of contemporary life.

This hybrid literary collection covers an inventive selection of subjects in four eponymous sections which contrast and echo one another, challenging our expectations and pushing the limits of the dream-like worlds and moods that language might create.

‘Danielle Dutton is a writer whose work I wait for. When a new book comes, I keep it very close… Her growing body of work is among the most formally inventive (and therefore essential) I can think of, and Prairie, Dresses, Art, Other is a vital, enlivening addition to it.’ – Kate Briggs

Danielle Dutton is the author of the novels Margaret the First and SPRAWL, the prose collection Attempts at a Life, the illustrated nonfiction chapbook A Picture Held Us Captive, and she wrote the text interpolations for Richard Kraft’s Here Comes Kitty: A Comic Opera. Her fiction has appeared in magazines and journals including The New Yorker, The Paris Review, The White Review, Harper’s, BOMB, and NOON. Dutton teaches at Washington University in St. Louis and is cofounder and editor of the award-winning feminist press Dorothy, a publishing project. Born and raised in California, she has lived on the (former) prairie now for roughly twenty years.

The Appendixes #1-4 is an editorial series by Mette Edvardsen, Léa Poiré and Victoria Pérez Royo that came out of the project Time has fallen asleep in the afternoon sunshine. For a two-year residency at Les Laboratoires d'Aubervilliers (2022-23), they came together as a small work group, shaping the work process, hosting presentation formats and making the publication series on paper as four cahiers.

The cahiers comprise a collection of commissioned texts and contributions created for this context, selected documents and traces from work sessions and encounters organized during the residency, texts read together and republished for this occasion, a collection of references, notes in progress, unfinished thoughts and loose fragments - on paper, between pages.

p 5-7 Almost on my way to you
p 8-10 Presque en route vers toi
Laía Argüelles Folch

p 12-13 Exercise in translation of Breve ensayo sobre la carta (Brief essay on the letter) by Laía Argüelles Folch
p 14-15 Exercice de traduction de Breve ensayo sobre la carta (Bref essai sur la lettre) de Laía Argüelles Folch
Quim Pujol, Paula Caspão, Simon Asencio, Pascal Poyet, Mette Edvardsen, Léa Poiré, Victoria Pérez Royo & Laía Argüelles Folch

p 16-17 Like a dinosaur upon awakening
p 18-19 Comme un dinosaure au réveil
Pascal Poyet

p 20-23 Is she a translator?
p 24-27 Est-elle traductrice?
Olivia Fairweather

p 28-29 New edition revised by my author
p 30-31 Nouvelle édition revue par mon auteur
Léa Poiré

p 32 Notes from a translation in progress
p 33 Notes d'une traduction en cours
Kate Briggs

p 34-37 Mothers & tongues
p 38-41 Langues (maternelles)
Mette Edvardsen

p 42-43 Collective reading of Finnegans Wake by James Joyce
p 44-45 Lecture collective de Finnegans Wake de James Joyce
Dora García and readers, et les lecteur·rices

p 46-49 Notes for a talk that did not happen
p 50-53 Notes pour une conférence qui n'a pas eu lieu
Olivia Fairweather

p 54-65 Meticulous comparison of two books with their versions rewritten from memory, excerpts from a work document
Comparaison méticuleuse de deux livres avec leurs versions réécrites de mémoire, extraits d'un document de travail
Julián Pacomio & Ángela Millano

A forgotten mid-century genius, recently rediscovered in France and never before translated into English, Hélène Bessette is a treasure and a bracing force to reckon with.

With a contribution by Eimear McBride
A New Yorker Best Book of 2025

Lili Is Crying, Hélène Bessette’s debut novel, conveys with singular force the fraughtness and depth of the troubling relationship between Lili and her mother, Charlotte. With a near-mythic quality, Bessette's stripped-back prose evokes at once the pain of thwarted love—of desire run cold—and the promise of renewal. Lauded by critics on its initial 1953 publication for its boundary-pushing style, Lili Is Crying catapulted Bessette to cult status in France. The novel is moving and maddening in turns, with its characters trapped in their own cruelties and sorrows, but in its spareness and strength it feels true. "Show me a woman who's chosen something." Bessette's books were hailed for their unusual economy of expression, rarity, strange humor, and sheer vivacity. She characterized her new kind of novel as "a freshly cut slice of life, whose force comes from its lack of commentary."

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.

The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019).

GREENING
Helen Marten
(front / back flaps)

JOY & HAPPINESS, FIDELITY
& INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)

PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)

TRANSLATION AND A LIPOGRAM:
OR, ON FORMS OF AGAIN-WRITING
AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)

UNHOMING (1 of 4):
FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)

SNOW WHITE AND THE WHITE
OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)

ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)

LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)

TRANS.MISSION [A.DIALOGUE]:
A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)

THE MECHANISATION OF ART
Edgar Wind
(glosses / annotations / insertions by
Natalie Ferris & Bryony Quinn)
(pp.137–144)

UNHOMING (2 of 4)
Phil Baber
(p.147)

COMMISSION FOR A NOIR MOVIE
B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)

UNHOMING (3 of 4)
Phil Baber
(pp.150–162)

EVERY CONTACT LEAVES A TRACE;
TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)

HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)

METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)

AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)

SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)

EVERY TELLING HAS A TALING /
EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)

GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)

UNHOMING (4 of 4)
Phil Baber
(pp.257–263)

TUNNELLING AND AGGREGATING
FOR DESIGN RESEARCH
Bryony Quinn (text) &
Peter Nencini (images)
(pp.265–272)

LET IT PERCOLATE:
A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)

288 pgs, 22.4 × 17 cm, Softcover, 2020

Part prose poem, part reflection on the relations between writing and place, Lagoon tells the story of the slow undoing of an idyll. In it the narrator walks for hours during long summer nights, gazing through the windows that line the streets. In between, she reflects on how she might write about the shifting space of the lagoon, where she spent summer holidays with her family years ago. In adolescence, the narrator watches quietly as her mother, father and sister go about building their holiday home. But she can sense something is awry, she just does not fully understand what.

Lagoon is the first novella by McCulloch.

Lagoon by Samantha McCulloch is the first title in Kunstverein Amsterdam's new imprint called First Drafts, which, inspired by artist and publisher Anne Turyn, celebrates experimental and commercially unviable work by publishing completed manuscripts that haven’t yet found a home in their first draft form. Importantly, each title is also the first attempt by the author to write in that particular form, or, to write at all.

In moderate physical decline, and with an immoderate weed habit, the novelist Dunja Anko returns home to the Adriatic coast to play detective and solve the mystery of her brother’s death. The going is arduous, the people inscrutable; her old friends have had years to forget – or to convince themselves they don’t remember. Dunja must contend with desire and disgust, curiosity and fear, as she begins to doubt her reasons for returning. Elegantly plotted, funny and self-reflexive, Flood Tide is a psychologically deft exploration of the trauma wrought by human limitation and indecision.

"A dazzling mix of narrative styles (even genres), a linguistic rollercoaster, and a book that demands both close attention and literary sensibility . . . The reader is hooked." — Boštjan Videmšek

"Mysterious, precise and haunting, Flood Tide suggests that every homecoming is a return to a crime scene." — Chris Kraus

Ana Schnabl (b. 1985) is a Slovenian writer and editor. She writes for several Slovenian media outlets and is a monthly columnist for the Guardian. Her collection of short stories Razvezani (Beletrina, 2017) met with critical acclaim and won the Best Debut Award at the Slovenian Book Fair, followed by the Edo Budiša Award in Croatia; the collection has been translated into German and Serbian. Three years later Schnabl published her first novel Masterpiece (Mojstrovina, Beletrina, 2020). She toured Europe with the English, German and Serbian translations of the book, which included a residence in the Museumsquartier in Vienna, the Literarisches Colloquium Berlin, and the first European Writer’s Festival in London. The novel was given favourable reviews and mentions in numerous Austrian, German and English media, and was longlisted for the Dublin Literary Award. Her second novel Flood Tide (Plima, Beletrina, 2022) was nominated for the Slovenian Kresnik Award. Her third novel September (Beletrina, 2024) won the Kresnik Award in 2025.

Rawley Grau has been translating literary works from Slovenian for over twenty years, including by such first-rate novelists as Dušan Šarotar, Mojca Kumerdej, Sebastijan Pregelj, Gabriela Babnik and Vlado Žabot. Six of his translations have been longlisted for the Dublin Literary Award, while his translations of Šarotar’s Panorama and Billiards at the Hotel Dobray were shortlisted for the Oxford-Weidenfeld Translation Prize. He has also translated poetry by Miljana Cunta, Miklavž Komelj, Janez Ramoveš and Tomaž Šalamun, among others. In 2021, he received the prestigious Lavrin Diploma from the Association of Slovenian Literary Translators. Translations from other languages include A Science Not for the Earth: Selected Poems and Letters by the Russian poet Yevgeny Baratynsky, which received the AATSEEL prize for best scholarly translation, and, co-translated with Christina E. Kramer, The Long Coming of the Fire: Selected Poems by the modernist poet Aco Šopov, which won the 2025 International Dragi Award for best translation from Macedonian. Originally from Baltimore, Maryland, he has lived in Ljubljana since the early 2000s.

The debut novel by the acclaimed author of Flâneuse and Art Monsters, Lauren Elkin’s Scaffolding is a story of Paris, desire, love, psychoanalysis, and the turbulent affairs of two couples across time. 

Paris, 1972. The same apartment in Belleville. Florence and Henry are renovating their kitchen. She is finishing her degree in psychology, dropping into feminist activities, and devotedly attending the groundbreaking, infamous seminars held by the renowned analyst Jacques Lacan. She is hoping to conceive their first child, though Henry isn’t sure he’s ready for fatherhood.

Two couples, fifty years apart, face the challenges of marriage, fidelity, and pregnancy. They inhabit this same small space in separate but similar times—times charged with political upheaval and intellectual controversy. A novel in the key of Éric Rohmer, Lauren Elkin’s Scaffolding is about the way our homes collect and hold our memories and our stories, about the bonds we create and the difficulty of ever fully severing them, about the ways all the people we’ve loved live on in us.

Lauren Elkin is the author of Art Monsters and Flâneuse, a New York Times Book Review notable book and a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay. Her essays have appeared in The New York Times, Le Monde, Frieze, and The Times Literary Supplement, among other publications. A native New Yorker, Elkin lived in Paris for twenty years and now resides in London.

Darryl Cook is a cuckold, and that’s exactly how he likes it. He has an inheritance that spares him from work, a manageable and seemingly consequence-free drug habit, and a lovely wife called Mindy who’s generally game for anything—and for as much of it as she can get. But after an accidental overdose and some serious oversharing, Darryl’s world begins to crack up. Tormented by what seems to be the secret truth in sex, and less assured of that secret’s form, Darryl steps into what used to be called real life . . . Darryl is a disarmingly funny and unabashedly intelligent look at a community of people parsing masculinity, marriage, sex (and love) on their own terms.

Underneath the sharp satire and hilarious sexual irreverence this is a deadly serious book: a brilliant novel of a seeker, like The Pilgrim’s Progress refracted by queer internet culture. —Torrey Peters

Ess is what I might call a burgeoning cult literary figure, armed with an unmistakable lyric deadpan and a taste for provocative subject matter. — Stephen Ira, Poetry Project

What Darryl is looking for is a crisis of sufficient severity that it will cause him to feel real to himself. — Dominic Fox, Review 31