Books

Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin.

As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet.

The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.

Critical conversations and reflections about lessons learned at the intersection of social movements and artist production. 

Diversity of Aesthetics collects powerful and timely conversations among leading cultural critics, artists, and organizers to connect the threads between some of the most pressing social struggles and conflicts of our time: policing, war, borders and migration, economic crisis. 

Across three themes—infrastructure, migration, and riots—militant thinkers, artists, educators, and others discuss aesthetic production, forms of social organization, modes of struggle against gendered and racialized capitalism, and revolutionary theory. Common to all three conversations is a commitment to rethinking the relationship between forms of critique and forms of struggle undertaken by collective social practices, offering lessons for tactics, strategies, and practices.

With contributions by Claire Fontaine, Iman Ganji, Saidiya Hartman, Vicky Osterweil, Andreas Petrossiants, Christina Sharpe, Stevphen Shukaitis, Michael Rakowtiz, Shellyne Rodriguez, Jose Rosales, Rinaldo Walcott, Andreas Petrossiants, Jose Rosales

Andreas Petrossiants is a writer and associate editor of e-flux journal. His work has appeared in Historical Materialism, Social Text, New Inquiry, AJ+ Subtext, Frieze, Bookforum.com, Roar Magazine, the Verso blog, the Brooklyn Rail, Hyperallergic. He is a PhD candidate in performance studies at NYU where he is researching anti-eviction, squatting, and tenants’ movements as they relate to the production of social space.

Jose Rosales is an independent researcher and journalist based in Lisbon, Portugal. His work has appeared in e-flux notes, Lumpen: A Journal of Poor and Working Class Writers, and has contributed a chapter called “Communism As the Riddle Posed to History” in Double Binds of Neoliberalism (2022).

Published in conjunction with the first major U.S. museum show of Joan Jonas’s art in nearly fifteen years, this monograph features new scholarship on her multimedia installations and performance practice from the early 1970s to the present. Inspired by the format of a reader, it breaks new ground by contextualizing and expanding understandings of Jonas’s body of work through three thematic approaches: the critical notions of gender, being and otherness; the politics of landscape and ecology; and new conceptions of medium specificity and un-specificity. Richly illustrated, with never-before-published sketches and drawings, the volume includes an interview with the late Douglas Crimp and Jonas’s personal reflection on their enduring friendship.

Edited by Barbara Clausen and Kristin Poor with Kelly Kivland, with an introduction by Clausen; essays by Clausen, Adrienne Edwards, André Lepecki, Poor, and Jeannine Tang; interview with Douglas Crimp; writings by Joan Jonas; conversation between Heather Davis, Joan Jonas, and Zoe Todd; and coda by Kivland

A photographic archive of the transgender community in Bologna in the 1980s. With critical texts by scholars and queer theorists.

This book is inspired by the pictures that Giordano Bonora, a young streetcar operator and aspiring photographer, took of Bologna's small transgender community in 1980 (although it would be more correct to speak, in this case, of proto-Transgenderism). Reproduced here for the first time, these raw and gilded images reflect—during a period in Italy characterized by subversive movements and political revolts that were not just rooted in questions of identity—attempts made by T* people at a construction of the self outside the binary logic of the genotypically XY male/genotypically XX female. By people like Valérie—a woman's face, a hairless chest with no breasts, a fleur-de-lis tattooed on the shoulder, and two pairs of pantyhose—for whom “gender” is not determined biologically but something to be embraced depending on the circumstances. A box containing a jigsaw puzzle with a picture that is constantly changing. Bundled with the photographs, a handful of texts set out to explain how the question of gender involves two cultural levels of sexual difference, the normative and the dissident, and how the decision-making power over organs outside heteropatriarchal systems of sexuality and processes of disidentification are the stakes in the new “somato-political” struggle against hegemonic regimes of oppression conducted by enchanting, allied, opaque, and vulnerable bodies.

Texts by Paolo Barbaro, Paul B. Preciado, Helena Velena, Salvatore Vitale, Wendy Vogel.

Is it the computerization of the planet
Or a loosening of my fidelity to suffering
I don’t understand the intensity
I’ve hidden here but I know I despaired
Of finding a physical place to keep
My tears. Now what. Seas that go turquoise
When you stop looking at them . . .
 
Wrestling with the mind of war, at times shocking in its self-analysis, Wave of Blood is a furious and sincere essay, an eclipse notebook, a family chronicle, all told in the poetry of witness.

Praise for Ariana Reines:

Ariana Reines is a go-for-broke artist who honors her traditions by being like no one else. Some of us have made a fetish of our stupidity, pretending to forget history, and some of us have made a fetish of despair, congratulating ourselves on melancholia, but Ariana is too brilliant and too alive for either of those sad luxuries... I am convinced of the authenticity of the summonses she receives and the summonses she issues and when I read her I am reminded that all of this is a calling before it's an identity or career. Her voice-which is always more than hers alone is a dialectic between the very ancient and the bleeding edge. - Ben Lerner

Reines's books are works of intellectual commitment and structural sophistication; at the same time, they allow the raw stuff of being, in all its messiness, to enter the page. -The White Review

Mind-blowing. - Kim Gordon

Her writing is queer and raunchy, raw and occult, seemingly never pulling away from her deepest vulnerabilities. Yet Reines simultaneously maintains a feeling of epic poetry, of ancient intention. She moves between worlds in search of the divine and the self. - The New York Times

These are the kinds of poems that reorient you in the world, make you understand how little you know, but how much is inside you. - NYLON

Casual Encountersz presents On The Rag, America’s Greatest Tabloid. Blending art and literature with sex, slime and sleaze, On The Rag emerges from LA's underground reading series Casual Encountersz to create a new media platform where the Ivory Tower and the gutter collide. On The Rag is a literary journal, gossip mag and conceptual art project all in one. Get off the apps…And get On The Rag!

During a residency on Fire Island, artist and writer Hannah Black decided to tackle a highly daunting project: the 2020 novel.

The result of her efforts, Tuesday of September or the End, is a slim, playful work of speculative fiction. Written in the aftermath of the early months of the pandemic and the uprisings of summer 2020, the novel explores the ruptures of the year with a satirical sci-fi bent. Black chronicles the lives of two characters, Bird and Dog, as they contend with rapidly changing political possibilities during the pandemic while the run of Moley Salamanders (i.e. Bernie Sanders) concludes and aliens finally invade earth. Through a galvanic vision of how the riots of 2020 might have turned revolutionary, Black offers a meditation on collective life. This crucial novel invites readers to consider who we are—and, by extension, what we are here for—when our normal referents are muted, deleted and upended.

Hannah Black (born 1981) is a New York-based visual artist, critic and writer from Manchester, England. Her work spans video, text and performance and draws from communist, feminist and Afro-pessimist theory. She is the author of Life (2017, with Juliana Huxtable) and Dark Pool Party (2016). Black is represented by the gallery Arcadia Missa in London and Isabella Bortolozzi in Berlin.

Through a voice at once intimate and collective, Lucas Juárez expands the powerful presence of Tutunakú roots to open up territories and to interweave desirous bodies, dream relationships, and the memories of women ancestors. This beautiful translation by Wendy Call and Whitney DeVos, in a precious handmade edition, affirms the trilingual (Tutunakú, Spanish and English) as an ethical strategy of listening to and translating the world. Red Seed collects twelve poems of women's sexualities and spirits in which body, language and territory are political spaces that Indigenous memory expands within and renews.

—Maricela Guerrero, author of The Dream of Every Cell

Cumin Baleen is a forty-one-year-old writer living in Philadelphia—this city of hospitals—who works at the upscale grocery Sea & Poison and is navigating the onset of an autoimmune condition. To start a medication that may help, an eye exam is required and this leads to a nightmarish laser eye surgery. The laser shoots into her brain, making her language spare and her sentences clause-less, a vexing constraint that stalls her book on gynecological malpractice: she wants others, in the realm of our for-profit medical industry that "renders the Hippocratic Oath its opposite," to see poison.

Meanwhile, Cumin is kicked out of her boyfriend Mari's studio after he falls for Janine, their landlord, and starts renting a closet in Maron's bedroom—polyamorous Maron who is hooking up with Alix, whom Cumin lusts after. Disheveled from medicines and medical scams, Cumin declares, "I don't know what to say, I'm saying I have a cracked appearance. It's not a pity party, it's a character sketch. Insofar as you'll need to be looking at me, that your mind should fill me up with its own swaying cognitive and toxic reeds if we are to do this, your imagination should touch me with its ridiculous poison."

Caren Beilin's hypnotic and fractured story is at once an homage to Shusaku Endo's terrifying novel of human vivisection The Sea and Poison and the spirit of OuLipo, the pioneering French writing group that sought new literary potential through constraints.

Caren Beilin was born in Philadelphia in 1983. She is the author of the novel Revenge of the Scapegoat, which won the Vermont Book Award for Fiction. Her other books are Blackfishing the IUD, Spain, The University of Pennsylvania, and Americans, Guests, or Us. She lives in Cleveland and Philadelphia and teaches at Case Western Reserve University.

Fidback est une nouvelle revue de cinéma éditée par le FIDMarseille. Chaque printemps, Fidback fera retour sur l’année écoulée : retour sur la dernière édition du FID, retour sur l’actualité mondiale du cinéma, retour sur le travail d’un·e cinéaste proche du festival, en-dehors de toute actualité.

À partir d’une dizaine de films choisis et éclairés par des textes, entretiens, documents et matériaux inédits, chaque numéro composera une image du cinéma défendu par le FIDMarseille : l’image inattendue d’un cinéma aventureux.

Adorno’s Noise is a collection of experimental, poetic, and conceptual essays. Adorno’s Noise takes a stunning plunge into a kaleidoscopic world of globalization, female sexuality, the place of art and artist, and the looming power of the state. Phrases from Theodor Adorno’s aphoristic philosophical text, Minima Moralia, serve as catalysts for an explosion of thought and language that quickly breaks Adorno’s orbit.

“This work by Carla Harryman, startlingly astute, once again proves how necessary an encounter with her writing has become for us today. Her grasp of theoretical and poetic exigencies is unbypassable, and she moves lightly, lifting the prose poem into the amplitude of a new articulation.” — AVITAL RONELL

“Adorno’s ‘noise’ may be nothing more than the consonance of late modern capital talking to itself, but Carla Harryman listens to Adorno listening, and what she hears is a very different sort of dissonance, something Adorno himself may have been deaf to. Listening for a noise that can’t be heard, Harryman attends to the disruption of signal the aesthetic artifact called a corpse at the limit of Adorno’s magisterial eloquence, where thought steps over the body. Atonally faithful to his negativity the afterglow of torment passing through figures of speech while refusing the authority of a masterful dialectic, Harryman makes our unthought horizon “normality is death” audible, presencing a body that can’t be redeemed by aesthetics the bosy wants tobe art and fails at it. From Gender the Status of Dogs to works by Sun Ra, Anais Nin, Robert Smithson, and Kenzaburo Oe, this radically asynthetic writing moves thru polyphonic configuration of word, image and concept. Synthesia? Emotional truth? The intersection between abstraction and narration? Practicing a militant ethic of non-mastery as every one of its sentences sounds like a sensory organ in the process of becoming its own theoretician. Adorno’s Noise reinvents the “essay as form,” but it doesn’t stop short of reinventing thinking.” — ROB HALPERN

Carla Harryman is the author of twenty-four books of poetry, prose, plays, and essays. Harryman is widely acknowledged as an innovator in poetry, prose, and inter-disciplinary performance. An active collaborator, she is one of ten co-authors of The Grand Piano, an Experiment in Collective Autobiography: San Francisco, 1975-1980 (2006-2010). Open Box, a CD of music and spoken text performance created with composer and musician Jon Raskin was released on the Tzadik label in 2012. Her Poets Theater plays and music/text collaborations have been performed nationally and internationally, including at dOCUMENTA 13, where she presented the closing keynote performance Occupying Theodor W. Adorno’s “Music and New Music,” a music/text work that folds segments of Adorno’s Noise into her poetic adaptation of Adorno’s lecture. She is the editor of two critical volumes: Non/Narrative, a special issue of the Journal of Narrative Theory ( 2012) and Lust for Life: On the Writings of Kathy Acker (with Avital Ronell and Amy Scholder, Verso, 2006).

Other books by Carla Harryman include the collection of poetry and performance writings published in French and English editions Sue in Berlin and Sue á Berlin (2017); A Voice to Perform (Split/Level 2020); the epistolary essay, Artifact of Hope (2017); the diptych W—/M— (2013), Gardener of Stars: A Novel (2001), and two volumes of selected writing: Animal Instincts: Prose, Plays, Essays (1989) and There Never Was a Rose without a Thorn (1995). Her grants and awards include The Foundation of Contemporary Art, New York, Opera America Next Stage (with Erling Wold), and The Ronald W. Collins Distinguished Faculty in Creative Activity Award from Eastern Michigan University, where she serves on the faculty of an interdisciplinary creative writing program.

In this anthology of essays, twelve artists explore radically self-reflexive research attitudes integrating embodied experiences within the production of theory.

Standpoint Autotheory encompasses a multitude of manifestations of radically self-reflexive research attitudes. It traces research based artistic practices through twelve contributions that propose a performative integration of the personal within the production of theory and explore the entanglements of subjectivity with criticality aimed at social transformation by questioning dominant epistemologies.
The positions assembled in the book are permeated by different modes of thinking and practice such as autoethnography, practices of the self, auto-historia teoría, standpoint theories, strong objectivity and situated knowledge, self-authority, narrativity and storytelling, radical positioning, performative philosophy, autofiction, thinking-feeling, and other methods that, through the interrogation of embodied experiences, illuminate the connections between the personal and the political, as well as the individual and the communal.

Edited by Ana de Almeida and Mariel Rodríguez.
Contributions by Ana de Almeida, andrea ancira, Cana Bilir-Meier, Nina Hoechtl, Olena Khoroshylova, Sanja Lasić, Mai Ling, Stephanie Misa, Lena Ditte Nissen, Mariel Rodríguez, Ruth Sonderegger, Elif Süsler-Rohringer, Verena Melgarejo Weinandt.

A collection of twenty-six abécédaire missives by Sharon Kivland, written and sent daily to the editors (MS & AWL) between Friday 7 February and Tuesday 4 March 2025. Interjected with melancholic ‘Mes horizons’ postcard erasures and an insert of abcedminded replies by Matthew Stuart titled ‘A Letter Always Suggests a Word’, this publication is both a standalone edition and precursor to BFTK#8, which focuses on letters (alphabets) and letters (correspondence). 

‘These are Addressed to You’ addresses what it means to be addressed and to address, to write with love and scorn, to seal with a kiss and conceal impressions and hair within a letter’s folds, to inscribe with ink and thread, to speak with and to those we admire. Drawing on / from Freud and Lacan, Joyce and Carringdon, Camille Corot and many more, these letters are about writing and reading, about language falling and bumping you on the head.

The first anthology of Elvira Hernández’s poetry translated into English brings the award-winning contemporary Chilean poet's work of love, survival, persistence, disturbance, amazement, and delight to a new audience.

Elvira Hernández has occupied a marginal position in the Chilean poetic scene for decades, her quiet but mordant voice looking inward and outward, ironizing the circumstances of life that have brought us to this critical point in society. As recently as 2018, her work has become more visible after receiving the Jorge Teillier National Poetry Award (2018), the Pablo Neruda Ibero-American Poetry Award (2018), and the National Literature Prize (Chile 2024). With this belated recognition of her work has come an interest in studying her unique poetic language, with new critical books forthcoming from Spanish and Latin American publishers. Bodies Found in Various Places collects poems written from 1981-2016, providing readers with a curation of texts that show why Hernández is one of the most vital Latin American poets writing today.

"Elvira Hernández wrote her poem “The Chilean Flag” after she herself had been detained and tortured by the dictatorship for not complying with its lies. While Chileans were trained to look the other way, to go quiet by this terror, Elvira Hernández wrote a poem that could not be printed. Yet, the poem escaped like a prisoner and began circulating in Xeroxes, from hand to hand, until ten years later it was finally printed in Buenos Aires. In Elvira Hernández’s poetry, each line restores the right of words to speak. Each word becomes a healer, a prayer for a wounded, enslaved humanity forced to obey the rule of profit over life."— Cecilia Vicuña, author of Spit Temple

In The Book of Na, translation acts at the edge of perception. Tracing across projects in film, video, and performance, Na Mira reflects on the violent fragmentation of bodies while refusing the containment of geographic and corporeal borders. In 1977, a name is cut at an immigration office. This gap turns into an intergenerational score for becoming heat, hexagram, hologram. Using oracular and glitching technologies, Mira witnesses what escapes data: doppelgängers, dreams, endangered tigers, tesseracts, A. Turiyasangitananda Coltrane's stairs, Theresa Hak Kyung Cha in a theater, Korean shamanism, frozen ligaments, wildfires, borderlands, subatomic particles, and pink. Syncing to a clock with neither face nor hands, Mira’s hauntological permutations in time, death, and relation travel outside the symbolic order and draw energy from the void.

Na Mira’s autobody rites have been presented at sites including Seoul Museum of Art; Museum of Contemporary Art, Los Angeles; Portland Institute of Contemporary Art; Participant Inc., New York; and Whitney Museum of American Art, New York. She earned an MFA from the University of California, Los Angeles. She grew up between the US and East Asia and teaches outside.

Early Works collects Alice Notley’s first four out of print poetry collections, along with 80 pages of previously uncollected material. A must have for any Notley fan. Includes original collection cover artwork by Philip Guston, Philip Whalen and George Schneeman, among others.

From editor Nick Sturm’s “Introduction” to Early Works:

In the author’s note that begins Grave of Light: New and Selected Poems 1970-2005, Alice Notley writes, “My publishing history is awkward and untidy, though colorful and even beautiful.” I have always been enamored of this sentence, which reminds us that an array of dispersed and varying publishing contexts are the original sites that give shape to such a book’s form. It is also something of an invitation into that color and untidiness, a prompt to become more curious about the awkwardness and beauty of Notley’s publishing history. This book, Early Works, accounts for a significant portion of that history by bringing back into print the complete versions of her first four books, a little-known 22-poem sonnet sequence, and a large selection of early uncollected poems gathered from little magazines. In doing so, Early Works joins an important set of recent volumes that put Notley’s earlier poetry back into circulation, including Manhattan Luck (Hearts Desire, 2014), which collects four long poems written between 1978 and 1984, and Songs for the Unborn Second Baby, originally published by United Artists in 1979 and reissued in a facsimile edition by London-based Distance No Object in 2021. Each in their own way, and especially taken together, these books continue to confirm that, as Ted Berrigan writes in The Poetry Project Newsletter in 1981, “Alice Notley is even better than anyone has yet said she is.”

An inscription of time at the coast, singing crows, albatrosses and seagulls. STOP. Extracted from the earth a whole alphabet. The waves uplifted countries and washed mountains until the storm came undone. The plantation of tobacco was maintained among the meadows and cafes flourished as the core of erudition, the power was theirs - you could see it in cinema- the actors spoke feverishly with enthusiasm, rather than breathless, meticulous and austere. The scars healed on mysterious skin that came out of the shadow to cross the day.

This volume brings together 50 years of correspondence from the archive of de Appel contemporary arts centre in Amsterdam. In tracing a relational and affective history of the institution, each piece offers a glimpse into the artistic projects and programmes de Appel has commissioned and championed; the cultural shifts and careers it has nurtured; the celebrations and struggles it has weathered; and the collaborations and friendships sparked along the way. The book gathers materials from more than 100 voices, with paper and digital exchanges covering an intricate web of people, places, and events, ultimately coalescing into what can be perceived as the unified work of an institution.

Includes a light-blue satin Ribbon by Alison Knowles.

"Discrete Categories Forced Into Coupling is consummate masterwork by a singuarly perceptive and articulate poet. Deceptively quiet in manner, its intimate foci and tone make clear the ground of our contemporary lives, our 'being together' despite the distances of isolating thought. I love Kathleen Fraser's extraordinary intelligence, her persistent care for where she is—and for all those she finds there too"—Robert Creeley.

"Here is a language of poetry that recognizes, beyond its intimacies, the intellectual and elusively sensate aspects of visual and literary aesthetic connection"—Carla Harryman.

Poets Lee Ann Brown and Bernadette Mayer, old friends, began a specific correspondence in early 2020 with the intention of editing them into a book. The poems, letters, letter-poems, pletters, cover the first songbirds of spring, works and advice from friends, art, lists from the messy old internet, the possibility of seeing one another again, some day. Bernadette passed away on November 22, 2022, 3 weeks before this book was completed and bound. Throughout the text Lee Ann and Bernadette merge two distinct and unique voices in both a poetic, loving and humorous sharing. In a letter from Bernadette to Lee Ann she writes: “I imagine the voice to be/ yrs/ Because it is/not/mine.”

An impassioned discussion about the alternative ways to form relationships and resist capitalism.

Capitalist ideology wants us to believe that there is an optimal way to live. 'Making connections' means networking for work. Our emotional needs are to be fulfilled by a single romantic partner, and self-care equates to taking personal responsibility for our suffering. We must be productive and heterosexual, we must have babies and buy a house. But the kicker is most people cannot and do not want to achieve all, or any of these life goals. Instead we are left feeling atomised, exhausted and disempowered.

Radical Intimacy shows that it doesn't need to be this way. A punchy and impassioned account of inspiring ideas about alternative ways to live, Sophie K Rosa demands we use our radical imagination to discover a new form of intimacy and to transform our personal lives and in turn society as a whole.

Including critiques of the 'wellness' industry that ignores rising poverty rates, the mental health crisis and racist and misogynist state violence; transcending love and sex under capitalism to move towards feminist, decolonial and queer thinking; asking whether we should abolish the family; interrogating the framing of ageing and death and much more, Radical Intimacy is the compassionate antidote to a callous society.

Poetry as both a form and genre has many possibilities to exist within; however, poetry too often is burdened by the imperative to have an argument and a set of imagery and meanings that are preconceived and placed within the poem. In this way, poetry gets conflated with writing a thesis or project, and the poet simply the presenter of perfectly argued language. When poets attempt to bridge the gap between genres and write within the contemporary essay form, they are tasked to construct perfect arguments there as well and avoid the associative and aesthetic logic that makes poems important. The term essay itself was coined by Michel de Montaigne in the 1500s — it comes from the French word essai, which means to test or experiment with what one knows as a learning tool, and is in partial opposition to the terms we use to discuss the essay now

ESSAYS calls on thinkers and writers to move beyond this linear thinking into the realm of what an essay by someone like Montaigne might do. His essays do as they say they will—they test out ideas, they are unafraid to get messy in their execution, they are brave enough to go forward into the uncharted waters. In them, it’s completely beside the point to get back to where they started, let alone where they’d say they would go. They are simply beside the point. It’s true.

ESSAYS, edited by Dorothea Lasky, is a book of essays on the essay, which enact and query these directives. The volume collects essays by poets Ariel Goldberg, Ken Chen, Wayne Koestenbaum, Tracie Morris, Anaïs Duplan, Raquel Salas Rivera, Brandon Shimoda, Cecilia Vicuña, Fred Moten, and Mónica de la Torre.

The seventh entry in an ongoing series of anthologies, this book features rare poems alongside new essays and interviews that engage the artists and themes explored elsewhere in Blank Forms' public programming.

Where most of prior entries, including Aspirations of Madness (2020), Intelligent Life (2019), and Music From The World Tomorrow (2018), have foregrounded little-seen or newly translated archival materials, this iteration privileges new texts produced specifically for the publication. These include an in-depth retrospective interview with the idiosyncratic Texan singer-songwriter and visual artist Terry Allen conducted by ICA Philadelphia chief curator Anthony Elms; a conversation between multidisciplinary writers—and longtime friends—Thulani Davis and Jessica Hagedorn on the occasion of Davis's latest poetry collection, Nothing but the Music, recently published by Blank Forms Editions; a recent discussion between composer Sarah Hennies and cellist Judith Hamann about their recent collaboration, which is included on Hamann's Music for Cello and Humming; and a conversation with composer-performers Tashi Wada and Charles Curtis, on the heels of a recent compilation of Curtis's work, Performances & Recordings 1998– 2018, produced by Wada. Each of these interviews shed light on the particularities of the artists' careers and methods in terms both formal and casual, practical and theoretical. 

In addition to these dialogues, this book features new critical reflections on three artists whose work Blank Forms has presented: the legendary jazz percussionist and healer Milford Graves, by Ciarán Finlayson; English multimedia artist Graham Lambkin and his beguiling 2011 album Amateur Doubles, by Alan Licht; and the UK-based experimental music trio Still House Plants, by Joe Bucciero. These articles mine historical, social, and theoretical contexts, filling gaps in the existing literature on the given artist-subjects. New and archival poems and writing about poetry complement these interviews and essays, including rare texts by Davis, Hagedorn, and René Daumal—the latter translated by Louise Landes Levi—and a suite of Auto-Mythological writings commissioned from Chicago-based composer and musician Angel Bat Dawid.

Avant que Black Lives Matter et #MeToo ne viennent secouer l’Amérique et le monde occidental, bell hooks montrait, dans cet essai incisif, que l’abolition du racisme et l’éradication du sexisme vont de pair. Sans le féminisme, la lutte antiraciste reste une affaire d’hommes. Sans l’antiracisme, le féminisme s’expose à servir de courroie aux logiques de domination raciale. L'autrice insiste sur le bien-fondé de la rage qui anime les masses populaires et la jeunesse noire et sur la nécessité d’en faire un moteur de changement social radical. Elle propose une théorie et une pratique révolutionnaires, dont la fin est une communauté solidaire fondée sur l’égalité réelle et la volonté de tou.te.s de travailler au changement.

Traduit de l'anglais par Ségolène Guinard.

GLORIA JEAN WATKINS, connue sous son nom de plume BELL HOOKS, née en 1952, est une intellectuelle, féministe, et militante étasunienne. Elle a publié plus de trente livres et de nombreux articles, et est apparue dans plusieurs films documentaires. Traduits dans de nombreuses langues, ses ouvrages sont considérés parmi les plus importants sur la question aux Etats-Unis et suscitent un réel engouement en France depuis quelques années. Les éditions divergences ont déjà traduit et publié trois de ses ouvrages dont La volonté de changer et A propos d'amour.