The Seers

Written in the course of the year following the publication of Book of Mutter, and inspired by the lectures of Roland Barthes, Anne Carson, and Jorge Luis Borges, Appendix Project collects eleven talks and essays. These surprising and moving performances, underscored by the sleeplessness of the first year of their child’s life, contain their dazzling thinking through the work of On Kawara, Roland Barthes, W.G. Sebald, Bhanu Kapil, Walter Benjamin, Theresa Hak Kyung Cha, Marguerite Duras, Marlene Dumas, Louise Bourgeois, Doris Salcedo, Jenny Holzer, and more.

Highly acclaimed in Denmark, Girlbeast is a fearless, unsettling, and poetic reimagining of the Lolita narrative, where power shifts unpredictably, and desire and coercion become indistinguishable. In a world that fetishises girlhood, it asks whether a girl be blamed for internalising the roles imposed upon her? Can she wield her youth as power in a system designed to render her powerless?

With sharp, fast-paced prose and an addictive plot, Cecilie Lind crafts a daring examination of female agency, sexuality, and the complexities of consent. The novel evokes the idea of the girl as animal – a creature conditioned to be both docile pet and wild beast, torn between submission and rebellion, innocence and desire.

Brave, provocative, and unflinching, Girlbeast is a gripping, vital novel for our times.

WINNER OF THE 2023 DANISH CRITICS PRIZE, SHORTLISTED FOR THE DR NOVEL PRIZE, MONTANA’S LITERATURE PRIZE & THE JYLLANDS-POSTEN FICTION PRIZE

Cecilie Lind (b. 1991) studied at Forfatterskolen (The Danish Academy of Creative Writing), and debuted in 2010 with The Wolf Ate My Eyeliner. Lind’s breakthrough in Denmark came with the publication of the highly acclaimed book-length poem My Child, which was shortlisted for the 2020 Critic’s Prize and the Politiken’s Literary Award. She was awarded The Native Language Prize in 2020, and Girlbeast won the Danish Critics Prize in 2023. Lind’s most recent novel, Bristefærdig (Ripe), was published to critical acclaim in 2025.

Hazel Evans (b. 1994) is an artist, writer and literary translator based near Aarhus, Denmark. She was the 2022/23 emerging translator for Danish to English at the National Centre for Writing, and her debut translation, Into a Star by Puk Qvortrup, was published by Hamish Hamilton. In 2024, she received The Inger and Jens Bruun Translation Prize for her translation of Rasmus Daugbjerg’s Troll, forthcoming from Penguin Press.

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.

A narrator and her dog are criss-crossing the Swiss Alps. She travels with friends who share her interest in food, languages and their topographical contexts. They collect colours, even look for colourlessness, and develop the idea of a walk-in diary, a vain attempt to archive their observations, encompassing portraits, descriptions and ruminations on mountains, hotels, people, language, food, flora and fauna.

Gradually, other mountains appear in their observations and memories, as do the mountains of literature and art. Mountains may be sites of fear and awe, of narrow-mindedness, racism and ever-looming collapse; Alpine lodges may be places of hospitality, retreat and unexpected encounters; of nature under threat.

In 515 notes, Zsuzsanna Gahse unfolds a finely woven interplay between her six characters while giving us a vivid panorama of mountain worlds, a multi-layered typology of all things mountainish.

In a time when looking into the past has become a socially unacceptable and illegal act in the Nation, a group of scholars are offered an attractive residency to allow them to pursue their projects. When the residency transpires to be a devastating trick, these Researchers go on the run, and soon discover that their projects all relate to one major event: the Isletese Disaster – the decline and subsequent devastation fifty years earlier of a long-forgotten roaming archipelago called The Islets.

One figure emerges as central to all of their work: Hester Heller, a reformed cult musiker turned student recruited from the Institute for Transmission as an agent of the state and tasked with gathering reconnaissance on the Disaster by using her old band Vehicle as a cover. Heller is the key to the Researchers collective story, which they try to piece together while evading their pursuers.

Compiled from the Researchers’ disparate documentation, recollections, and even their imaginations, Vehicle is a metafictional work of literary speculative fiction, and a timely and daring exploration of xenophobia, exploitation, the writing of histories and legacies, and the politics of translation.

A dark-humored poet’s novel of cruising, contempt, and database crawling, Stalled Death Train rumbles through the death of David Bowie in 2016 to shake apart its narrator’s sense of self. Nick, a burned out office worker and late-Bowie fanatic, spends his days mourning his fallen star, left to decipher the legacy and lyrics of a singular pop icon whose excesses did not cease, even after his greatest moments had passed. Meanwhile, Nick must solve the mystery of why his boyfriend has begun to self-amputate as a form of autonomously upgrading his dimensions—or at least call tech support before he uploads himself to the cloud.

Oostende is a book about displacement and the sometimes-overwhelming internal monologue we live with. In between poetry, diary and novel, the book reflects on Zicari’s life in Buenos Aires and Belgium, as he navigates work fragility, friendship, sex and love, migration and the fiction laying behind everyday actions and life changing decisions.

Zícari's portrayal of his private life is far from the domain of the concrete, instead he ventures into the uncontrollable production of fantasies that sustain his inner discourse. It is around this dichotomy between the real and the imaginary, the tension between the experienced and the illusion, that Martín Zícari builds a book sustained in orality and proximity.

Martín Zícari, PhD, is a writer and producer based in Brussels. He has published poetry collections such as "Oostende" (Paripé Books, Madrid, 2023), "Del Príncipe Azul al Hombre Invisible en una Semana" (Editorial Municipal de Rosario, Argentina, 2018), and "Pequellpu" (LUMA Foundation, Switzerland, 2015), as well as the short novel "Scalabritney" (Entropia, Argentina, 2014), among others. His research has been featured in scientific journals such as Performance Research, Memory Studies, and the Journal of Latin American Cultural Studies.

A highly personal and sensitive exploration of motherhood.

In How to Mend: On Motherhood and its Ghosts, Iman Mersal  navigates a long and winding road, from the only surviving picture of the author has with her mother, to a deep search through what memory, photography, dreams and writing, a search of what is lost between the mainstream and more personal representations of motherhood and its struggles. How to mend the gap between the representation and the real, the photograph and its subject, the self and the other, the mother and her child. 

"If I'd been more aware and someone had asked me about 'my mother's picture' I would have shown them the bird she'd stitched onto the canvas herself. It is not aesthetic vision or skill that summons my mother's presence in this canvas, but the slight punctum the bird gives me. I get nothing of this sort from our studio portrait. The bird's eyes are always looking at me, as though they belong to her. The bird: motionless, for whose sake my mother sat and stitched by the window where the light came in, each pinprick a symbolic laceration in the process of its embodiment: cuts by the hundred to make it whole."

Iman Mersal (born 1966 à Mit 'Adlan) is an Egyptian poet, writer, academic and translator. She works as an Associate professor of Arabic literature and Middle Eastern studies at the University of Alberta, Canada. An anthology of her works was translated into more than twenty languages and she has five poetry collections published.

Mammoth’s protagonist is a disenchanted young lesbian. She’s inexperienced, irritated by life, eager to gestate, and determined to strip everything else down to essentials. She seduces men at random, swaps her urban habitat for an isolated farmhouse, befriends a shepherd, nurses lambs, battles stray cats, waits tables, cleans house, and dabbles in sex work – all in pursuit of life in the raw.  This small bomb of a novel, not remotely pastoral, builds to a howling crescendo of social despair, leaving us at the mercy of Eva Baltasar’s wild voice.

Taking the shape of an accordion-folded A3 poster, “Under The Sea” investigates the political economy of global internet infrastructures, whose material reality has temporarily become visible during fibre optic network expansion works in The Hague and other Dutch cities.

As internet users, we spend a lot of time underwater. Contrary to popular belief, satellites play a negligible role in beaming our intimate messages, cat footage and work emails across the globe.

99% of all intercontinental internet traffic travels through one of over 550 fibre optic cables criss-crossing our oceans. Despite its scale, complexity and many interlinkages with global systems of power, this network of cables and landing points commonly remains invisible.

Printing: Risograph, Stencilwerck Den Haag; English text and Photography: Livio Liechti; Dutch translation: Minke Havelaar; Design: Apsara Flury. 
Edition of 250. Co-funded by Oxfam Novib.