Urban Lament

Epidemics and pandemics undermine societies and highlight the vulnerability of relations people have created to the land, other species, and each other. This book presents fragments of disease management in the Mediterranean from the 15th-century onwards and in the Aegean Archipelago in the last two centuries. From religious to medical approaches to the Bubonic Plague, through the creation of lazarettos, to the famine in occupied Syros, to ghost ships drifting on the Mediterranean: citizens are forced to avoid citizens. Public health in crisis: confinement versus mobility, awakening memories of totalitarian regimes.

CONTENTS

Impending Arrivals by Dimitra Kondylatou
Cruises to Nowhere
Covid-19 stricken Ships
Ghost Ships drifting on the Mediterranean

Suspended Arrivals by Dimitra Kondylatou
Le Corbusier Confined
Venice, Lazaretto and Black Death

Confined Spaces by Dimitra Kondylatou
Religious versus Medical Approaches to the Plague
Public Health and Public Order
Architectures of Control
The Lazaretto at Syros

Confinement and Totalitarianism, Famine in Occupied Syros
by Nicolas Lakiotakis

Panic Room. Waiting Room. Island.
by Hulya Ertas

Read Me gathers the tools necessary to make sense of contemporary problems so ubiquitous they seem too big to name. Spanning a multiplicity of genres, media, and tonal registers, this book surveys Holly Melgard’s formally experimental poetic works produced between 2008 and 2023, including sound poems, essays on poetics, and books that exploit print on demand to, for example, counterfeit money. In often wildly comic turns of thought, Melgard’s work cleaves personal agency from automated defaults by mapping trauma and technocracy from the inside out.

From critical talks to fictional monologues, the poet translates into language the unremarkable torments of neoliberalization in the digital age.

Written according to its own dictum, "language is the universal inebriant," these epistolary essays, personal narratives, meditations on avant-garde writers, and unorthodox forays into the "narco-imaginary"—the habits and conventions surrounding literary and cultural representations of drug use—attend to the residue of transient impressions that remain, long after the delirium of creative activity subsides.

Ramsey Scott teaches at Brooklyn College, CUNY. His essays, poems, and fiction have appeared in various print and online publications, including the Southwest Review, the Seneca Review, The Massachusetts Review, Shampoo, Tarpaulin Sky, Confrontation, and Mirage #4/Period(ical). The Narco-Imaginary is his first book.

To Navigate Backward: Resonating with Zapatismo a book-within-a-book, the first of three mouvements (as in a musical composition) is a collection of essays titled When the Roots Start Moving: Chto Delat and Free Home University—investigating predicaments of rootedness and rootlessness and notions of belonging and of displacement across different geographical and epistemological coordinates.

Zapatismo—the insurgent movement of Indigenous peoples from Mexico—emerges as a form of belonging, a home (or a homecoming) for our hopes and political imaginaries, providing a praxis to learn from and with. The contributors of this book, without romanticizing or objectifying the Zapatista struggle toward Autonomy, offer their understanding of the Zapatistas' movement, of their poetics and politics within an Indigenous cosmovision and cosmopolitics, but also in relation with the current global ecological and social crises.

The book extend the research and practice of artistic collective Chto Delat, long since adopting Zapatismo as a lens to self-reflect and emblematically reminding of how the Zapatista imaginary continues to inspire those who are looking for emancipatory tools: through art, language, radical pedagogy and conviviality, as a practice of commoning and collectively reimagining an otherwise.

To Navigate Backward: Resonating with Zapatismo is a small act of reciprocity—in preparation for the Zapatistas' visit to the European continent, a gesture of solidarity with those who, with fierce care, leave their homes to reverse imposed trajectories, to look in the same direction and share a common horizon.

The conversation hosted in this book by Free Home University will continue in the following two mouvements—Between Displacement and Belonging and Motherlands/Mother Earth.

The collective Chto Delat (What is to be done?) was founded in early 2003 in St. Petersburg by a workgroup of artists, critics, philosophers, and writers from St. Petersburg, Moscow, and Nizhny Novgorod with the goal of merging political theory, art, and activism. Chto Delat sees itself as an artistic cell and also as a community organizer for a variety of cultural activities intent on politicizing "knowledge production". The activity of collective takes responsibility for a postsocialist condition and actualization of forgetten and repressed potentiality of Soviet past and often works as a politics of commemoration. From its inception, the collective has been publishing an English-Russian newspaper focused on the urgent issues of Russian cultural politics, in dialogue with the international context. In 2013, Chto Delat initiated an educational platform—School of Engaged Art in Petersburg and also provides resources for a space called Rosa's House of Culture.

Free Home University exists at the crossroad of engaged art, experimental pedagogy, and political commitment since 2014. Based in Lecce (Italy), FHU has been carrying out artistic investigations and processes of convivial research, engaging with communities of struggle and practice. Artists, farmers, activists, asylum seekers, scholars, thinkers and doers collectively inform learning spaces, through living, studying, and creating together.

In the fourth title of the acclaimed DecadentEditions series, Dennis Lim explores the oeuvre of South Korean auteur Hong Sangsoo via his 2005 film. Forty minutes in, we realise we’ve been watching a film within the film. The ‘real’ characters leave the cinema and find themselves reenacting what they just saw, as a chance encounter invites a suicide pact. Is it life imitating art, or the other way around? Dennis Lim is a film curator, teacher, and writer. He is currently the Artistic Director of the New York Film Festival.

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life.

In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to How do you throw a brick through the window of a bank if you can’t get out of bed? It was not long before this essay, “Sick Woman Theory”, became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism—a system that limits our worth to the productivity of our bodies—we must reach for the revolutionary act of caring for ourselves and others.

How to Tell When We Will Die expands upon Hedva’s paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal—from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America’s byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness—relying on and fueling ableism—to the detriment of us all.

With the insight of Anne Boyer’s The Undying and Leslie Jamison’s The Empathy Exams, and the wit of Samantha Irby, Hedva’s debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive.