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Constance DeJong’s long-neglected 1977 novel, Modern Love, is one thing made up of many: It is science fiction. It is a detective story. It is a historical episode in the time of the Armada and the dislocation of Sephardic Jews from Spain to an eventual location in New York’s Lower East Side. It is a first-person narrator’s story; Charlotte’s story; and Roderigo’s; and Fifi Corday’s. It is a 150-year-old story about Oregon and the story of a house in Oregon. Modern Love’s continuity is made of flow and motion; like an experience, it accumulates as you read, at that moment, through successive moments, right to the end.

An important figure of downtown New York’s performance art and burgeoning media art scene in the late 1970s and early 1980s, DeJong designed Modern Love herself and published it with help from Dorothea Tanning on the short-lived Standard Editions imprint. Critically acclaimed in its time, Modern Love is now back in print on the 40th anniversary of its original publication.

Constance DeJong is an artist and writer who has worked for thirty years on narrative form within the context of avant-garde music and contemporary art. Considered one of the progenitors of media art, or “time-based media,” DeJong shapes her intricate narrative form through performances, audio installations, print texts, electronic objects, and video works. Since the 1980s, DeJong has collaborated with Phillip Glass, Tony Oursler, and the Builders Association on performances and videos at Walker Art Museum, Minneapolis, MN; the Wexner Center, Columbus, OH; Philadelphia Museum of Art; and in New York, at The Kitchen, Thread Waxing Space, the Whitney Museum of American Art, and the Dia Center for the Arts. Her books include I.T.I.L.O.E. and SpeakChamber, and her work is included in the anthologies Up is Up, But So is Down: New York’s Downtown Literary Scene, 1974–1991 (NYU Press, 2006); Blasted Allegories (New Museum/MIT, 1987); and Wild History (Tanam Press, 1985).

An expansive anthology focused on concrete poetry written by women in the groundbreaking movement’s early history. It features 50 writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre.

Women in Concrete Poetry: 1959-1979 takes as its point of departure Materializzazione del linguaggio—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Through this exhibition and others she curated, Bentivoglio traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.

The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres Group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive, serial works that are overtly feminist and often trouble legibility. Women in Concrete Poetry: 1959-1979 revisits the figures in Bentivoglio’s orbit and includes works by women practicing in other milieus in the United States, Eastern Europe, and South America who were similarly concerned with activating the visual and sonic properties of language and experimenting with poetry’s spatial syntax.

Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Mary Ellen Solt, Susan Howe, Liliane Lijn, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia.

Otherhow brings together four decades of writings, lectures, interviews, and documentation of work by the artist Joseph Grigely. Deaf since the age of ten, his art and writing have long questioned and made use of various modes of communication—photographs, handwritten notes, lipreading, newspaper headlines, paintings, and TV captions—to examine and scrutinize the ableism embedded in cultural and media production. From his brilliant series of postcards addressed to Sophie Calle, where he began to formulate a theory on the intersection of disability and art, to his epic lecture “On Failure,” which brings together the poet Keats, “the first woman of fly tying” Helen Shaw, and the filmmaker Andrei Tarkovsky to the same table for a conversation on beauty, Grigely’s writing is erudite, but clear; righteous with fury, but dryly humorous.

An underlying theme throughout are modes of access and how issues of accessibility and their resolution provide a benefit to everyone, not just the disabled. Chapters devoted to art, access, and advocacy underpin the interconnected nature of these issues in a maddening, but ultimately enlightening manner. Letters of complaint, faxes and emails, unpublished op-eds, exhibition proposals, statements on equality and access; each provide a glimpse into how Grigely’s work has been shaped by—or constructed from—the “tangled process” of opening access.

Joseph Grigely, artist, educator, and activist, is currently a Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. He holds a Doctorate in Philosophy from Oxford in English literature and has taught at Gallaudet University, Stanford University, and the University of Michigan. Exhibiting widely in the US and Europe, his most recent show In What Way Wham? was presented at MASS MoCA in 2023–24. His work is in the collections of the Museum of Modern Art (NY), the Whitney Museum of American Art, the Tate Modern, and the Stedelijk Museum, among others.

COOP documents Swedish artist Fia Backström's (born 1970) performances of two recent scripts, continuing her exploration of language, marketing, disorders and performance. The first script operates according to two distinct logics: a four-part linear base structure and text material that was chosen and read during the performance through chance movement of the performer's body across a grid.

This publication was especially designed to reflect this type of unpredictable and spontaneous movement. Mathematical symbols have been embedded into the text and these symbols link to ones on the upper corner of pages with nonlinear material. These indicate where the text could be inserted during a performance, thus incorporating the form of performance into the book. The second script serves as an epilogue to the first and was performed by four voices, reading from beginning to end without assigned lines, sometimes simultaneously.

“a slight cast down at the edges of the lips brings together work from the last decade of Katherine Hubbard’s prolific practice, which intertwines analogue photography, writing, and live performance. Reproductions of exhibited prints, a selection of new photographs, and images created from within her performances are gathered here, along with four of the artist’s original written works. This publication marks the first occasion for Hubbard’s photographs and writings-for-performance to exist on the same scale, that of the book.”
— co-editor, Corrine Fitzpatrick

The book is accompanied by a poster with a full-scale detail reproduction of Katherine Hubbard's rip stop weave artwork, printed on glossy tissue paper.

Additional contributions by Zoe Leonard, Mónica de la Torre, Elisabeth Sherman, and Lynne Tillman. Edited by Corrine Fitzpatrick and Lara Mimosa Montes.

Blending memoir with critique, an award-winning poet and essayist's devastating exploration of sickness and health, cancer and the cancer industry, in the modern world

A week after her 41st birthday, Anne Boyer was diagnosed with highly aggressive triple-negative breast cancer. For a single mother living payslip to payslip, the condition was both a crisis and an initiation into new ideas about mortality and the gendered politics of illness.

In The Undying - at once her harrowing memoir of survival, and a 21st-century Illness as Metaphor - Boyer draws on sources from ancient Roman dream diarists to cancer vloggers to explore the experience of illness. She investigates the quackeries, casualties and ecological costs of cancer under capitalism, and dives into the long line of women writing about their own illnesses and deaths, among them Audre Lorde, Kathy Acker and Susan Sontag.

Genre-bending, devastating and profoundly humane, The Undying is an unmissably insightful meditation on cancer, the cancer industry and the sicknesses and glories of contemporary life.

Winner of The Pulitzer Prize for Nonfiction 2020; Windham Campbell Prize for Nonfiction 2020

Started in 1989 by designer and writer Robert Ford, THING magazine was the voice of the Queer Black music and art scene in the early 1990s. Ford and his editors were part of the burgeoning House music scene, which originated in Chicago’s Queer underground, and some of the top DJs and musicians from that time were featured in the magazine, including Frankie Knuckles, Gemini, Larry Heard, Rupaul, and Deee-Lite. THING published ten issues from 1989-1993, before it was cut short by Ford’s death from AIDS-related illness. All ten issues of THING are collected and published here for the first time.

As House music thrived, THING captured the multidisciplinary nature of the scene, opening its pages to a wide range of subjects: poetry and gossip, fiction and art, interviews and polemics. The HIV/AIDS crisis loomed large in its contents, particularly in the personal reflections and vital treatment resources that it published. An essay by poet Essex Hemphill was published alongside the gossip columnist Michael Musto and Rupaul dished wisdom alongside a diary from the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation. Joan Jett Blakk’s revolutionary presidential campaign is contained in these pages, as are some of the most underground, influential literary voices of the time, such as Dennis Cooper, Vaginal Davis, Gary Indiana, Marlon Riggs, David Wojnarowicz, and even David Sedaris.

THING was very much in dialogue with the club kids in New York and other Queer publishing ventures, but in many ways, it fostered an entirely unique perspective—one with more serious ambitions. In a moment when the gay community was besieged by the HIV/AIDS crisis and a wantonly cruel government, the influence and significance of this cheaply-produced newsprint magazine vastly exceeded its humble means, presenting a beautiful portrait of the ball and club culture that existed in Chicago with deep intellectual reflections. THING was a publication by and for its community and understood the fleetingness of its moment. To reencounter this work today, is to reinstate the Black voices who were so central to the history of HIV/AIDS activism and Queer and club culture, but which were often sidelined by white Queer discourse. In many ways, THING offered a blueprint for the fundamental role a magazine plays in bringing together a community, its tagline summing up the bold stakes of this important venture: “She Knows Who She Is.”

The magazine included contributions from Trent D. Adkins, Joey Arias, Aaron Avant Garde, Ed Bailey, Freddie Bain, Basscut, Belasco, Joan Jett Blakk, Simone Bouyer, Lady Bunny, Bunny & Pussy, Derrick Carter, Fire Chick, Chicklet, Stephanie Coleman, Bill Coleman, Lee Collins, Gregory Conerly, Mark Contratto, Dennis Cooper, Dorian Corey, Ed Crosby, The Darva, Vaginal Davis, Deee-Lite, Tor Dettwiler, Riley Evans, Evil, The Fabulous Pop Tarts, Mark Farina, Larry Flick, Robert Ford, Scott Free, David Gandy, Gemini, Gabriel Gomez, Roy Gonsalves, Chuck Gonzales, Tony Greene, André Halmon, Lyle Ashton Harris, Larry Heard, Essex Hemphill, Kathryn Hixson, Sterling Houston, Ishmael Houston-Jones, Gary Indiana, Candy J, Jamoo, Jazzmun, Gant Johnson, Owen Keehnen, Lady Miss Kier, Spencer Kincy, Iris Kit, Erin Krystle, Steve LaFreniere, Larvetta Larvon, Marc Loveless, Lypsinka, Malone, Marjorie Marginal, Terry A. Martin, Rodney McCoy Jr., Alan Miller, Bobby Miller, Michael Musto, Ultra Naté, Willi Ninja, Scott “Spunk” O’Hara, DeAundra Peek, Earl Pleasure, Marlon Riggs, Robert Rodi, Todd Roulette, RuPaul, Chantay Savage, David Sedaris, Rosser Shymanski, Larry Tee, Voice Farm, Lawrence D. Warren, Martha Wash, LeRoy Whitfield, Stephen Winter, David Wojnarowicz, and Hector Xtravaganza.

From its anatomy and autonomy to its death and diet, this issue focuses on the motif Body and all its meanings, direct and indirect, for instance as in relation to human and non-human bearers of bodies, its inhabitants like bacteria and organs, its social, medical and juridical conditions, its intoxications, chemical processes, traumas, transitions, well-being, replacements, weaknesses, and its opposites.

Contributors: Adam Dickinson, Andrea Éva Győri, A.L. Steiner, Alexandra Ivanciu, Barak Zemer, Bernhard Willhelm, Clara Lena Langenbach, Clémentine Bedos, Constance DeJong, Daisy Hildyard, Fanny Howe, Hanne Loreck, Hasti, Holly Hunter, Ingrid Jäger, Jannis Marwitz, Jess Arndt, Johannes Kuczera, Jolanta Nowaczyk, Henriette Maier, Mag Gabbert, Maja Smrekar, Manuel Vason, R.I.P. Germain, Rebekka Endler, Sonja Yakovleva 

Within the format of a magazine, each page of Pfeil represents the floor, walls, or ceiling which together create an imagined room displaying a printed exhibition. Each issue is dedicated to a specific word, and artists are invited and given space to work on and with this term, and to construct or deconstruct the architecture around it. Combined, the contributions transform into an organic display surrounding the leitmotif.

In this characteristically sexy, daring, and hyperliterate novel, Kathy Acker interweaves the stories of three characters who share the same tragic flaw: a predilection for doomed, obsessive love. Rimbaud, the delinquent symbolist prodigy, is deserted by his lover Verlaine time and time again. Airplane takes a job dancing at Fun City, the seventh tier of the sex industry, in order to support her good-for-nothing boyfriend. And Capitol feels alive only when she's having sex with her brother, Quentin. In Memoriam to Identity is at once a revelatory addition to, and an irreverent critique of, the literature of decadence and self-destruction.

Legal-high addict, gaming enthusiast, and principal shareholder of AstroLabs™, Lex Rameses, has recently discovered—and purchased—Proserpina: a planet with a near-identical ecosystem to Earth’s. Yet, although his humanistic, hipster pretensions mean that many people admire him, there is still one thing standing in the way of his space-colonization program: as of yet, there is no way to travel to Proserpina safely.

Enter a cast of mad scientists, Astro–Marxists, a neurorobotic AI hivemind, an extinction anxiety addict, the victims of an interrelated crypto-currency gaming scam, and a seemingly endless succession of ravers and gamers in search of the ultimate hallucinogenic, carcinogenic, neü-space-age high…

The Ultraviolet Catastrophe is raucous, hilarious, irreverent, and wildly smart, taking aim at techno-salvation fantasies, startup culture, and the eternal humiliation of having a body under the ridiculous conditions of late capitalism. Finlay's new novel is as unexpected and unique as all of her work. Read it now.
— Elvia Wilk, author of Oval and Death by Landscape 

With echoes of Shirley Hazzard and Virginia Woolf, a new novel of startling intelligence from prize–winning author Michelle de Kretser, following a woman looking back on her young adulthood, and grappling with the collision of her emotions and her values.

In the late 1980s, the narrator of Theory & Practice—a first generation immigrant from Sri Lanka who moved to Sydney in her childhood—sets up a life in Melbourne for graduate school. Jilted by a lover who cheats on her with another self-described "feminist," she is thrown into deeper confusion about her identity and the people around her.

The narrator begins to fall for a man named Kit, who is in a “deconstructed relationship” with a woman named Olivia. She struggles to square her feminism against her jealousy toward Olivia—and her anti-colonialism against her feelings about Virginia Woolf, whose work she is called to despite her racism.

What happens when our desires run contrary to our beliefs? What should we do when the failings of revered figures come to light? Who is shamed when the truth is told? In Theory & Practice, Michelle de Kretser offers a spellbinding meditation on the moral complexities that arise in this gap. Peopled with brilliantly drawn characters, the novel also stitches together fiction and essay, taking up Woolf’s quest for adventurous literary form.

Founded in 2023, A4 is a poetry review which showcases and explores contemporary writings practices. Run by Littérature Supersport collective, the object is seen as the extension of their events. The review takes the form of 4 postcards which, when placed side-by-side, form an A4-sheet. A light (even precarious) format for literature that slips into the back pocket of pants and hangs on fridge doors. Each issue features unpublished texts by 4 authors. Wrapped in colors, A4 is distributed by post and available in good bookshops, in Brussels, Liège, Paris and Marseille. 

This third issue presents texts by : Lila Maria de Coninck, Gabriel Gauthier, Marjolein Guldentops & Ahmed Saleh.

Ahmed Saleh (born 1998) is a Palestinian writer and poet from Gaza. He studied business administration and political science and is currently living  in Brussels. Ahmed writes articles in Arabic and English, several of which have been published on various platforms. 

Marjolein Guldentops (Belgium, 1994) is a visual artist, author, and performer. Her artistic practice spans various mediums, including text, video and performance. Rooted in the concept of worlding, her work explores the urban rhythms, flows, and semantics that shape perceptions of space and language in both physical and metaphysical senses.

Gabriel Gauthier is a graduate of the Beaux-arts in Paris. He writes books, performs and makes music. He has published Simurgh & Simorgh and Contra at Théâtre Typographique (2016, 2024) and Speed at Vies Parallèles (2020). He has designed pieces at the border of dance and visual arts (Cover, Rien que pour vos yeux). Space, his first novel, was published by Corti.

Lila Maria de Coninck (2004) is a Belgian creator living in The Hague. She makes music, theatre and writes poetry. The guiding principle in her works is the use of multilingualism and miscommunication to promote creativity in her mother tongue, Dutch.