Books

A classic of Brazilian literature is twinned with an overheated tract in which tropical delirium swallows up Western philosophy. Both attack the decolonial question with poetic ferocity, ignited by the moment when colonialist rationality meets its limits in the "magnificent disorder" of the Amazon jungle. 

Described in Eduardo Viveiros de Castro's foreword as "no longer an interpretation of Brazil but an interpenetration with Brazil," Jean-Christophe Goddard's strange theory-fiction plunges Western philosophy into the great American schizophrenia, where its ordered categories are devored by uncontainable contaminations—first and foremost the rainforest itself, a "monstrosity unapproachable by the cogito." 

In 1664, the Portuguese Bento de Espinosa wrote of his terrifying hallucination of "a scabby black Brazilian." But rather than a vision of "the Other," the dream figure was a frightful glimpse of Bento's own duplicity. Upon adopting the "clean white nickname" of Benedict de Spinoza, the philosopher cut ties with his homeland and its colonial misadventures, repudiating this specter that flees along the lines of migration: "Spinoza is American ... the journey is intensive." And in his wake, a cannibalized cast of conceptual personae are sucked into Goddard's Pernambucan delirium: Franny Deleuze, Dina Levi-Strauss, Chaya Ohloclitorispector, Galli Mathias... 

The rainforest also precipitates a deregulation of the senses in Verdant Inferno, Alberto Rangel's classic 1904 work of Brazilian literature. In Rangel's astonishing tales, this "poet-engineer" sent into the dark interior as a state representative records his encounters in a style that shimmers between objective documentary and visionary limit experience.

Somewhere between fact and fiction, 
memoir and novelisation ... 
a tidal thread of correspondences. 

A novel-in-correspondence, a neither/nor publication defying easy category—a book that rests somewhere between fiction and memoir—Envois is a collection of letters sent to Sharon Kivland by the French psychoanalyst Jacques Lacan during the course of their long and stormy love affair from 1953 until his death in 1981.

A publication assembled chronologically—following the yearly seminars of Lacan and structured per their delivery—and in which love emerges as a form of appropriation; a litmus for authenticity; a look book for learning; an atlas for forms of yearning; a map for multimodal thinking; a log book for passing hours; a calendar to keep track of the quickening of time; an itinerary of preoccupations; a discipline; a vocation; a dressing up and dressing down of language; a lens; an aperture; a tool shed; a window; a corridor; and/or an arena of investigation. Kivland was not listening for psychoanalytic theory and she is faithful to the words of her beloved, attuned to his speech towards her and her alone... And yet, well, and yet, all that remains as her master breaks the silence.

In 2015, artist Patty Chang (1972) followed the South-to-North Water Diversion Project, the longest aqueduct in the world, which brings water from southern to northern China. While walking, she collected her urine in plastic bottles, drinking their contents before refilling them, in turn drawing a connection between the large-scale infrastructural attempt to control the flow of water and the uncontrollable flows of her own body. Once back in Boston, Chang began making a series of portable urinary devices from discarded plastic bottles, which were then hand-blown in New York by glass-blower Amy Lemaire. In fashioning them from discarded plastic and rendering them permanent in glass, the devices channel Chang’s unfolding ruminations on water as a point of connection between geopolitics, human excess and waste. Designed by Sabo day, this indexical publication is the first book dedicated to depicting the series of sixty-four sculptures in its entirety. It was published on the occasion of Patty Chang’s exhibition at A Tale of A Tub, which ran from September 14–November 3, 2024.

Afternoon Editions no. 5: a collection of found papers annotated by Jeroen Peeters, titled Bookmarks of sorts. During several years Jeroen Peeters collected notes left by readers in library books: faded reader tickets, scraps with notes, a shopping list, train tickets and other little papers used as bookmarks. He noted each time the date and the book in which they were found. Afterwards he wrote commentaries to this collection, an essay on alternative reading practices, marginalia and extra-illustration, on the exchange between readers and the imaginary community lingering in all those library books.

Askia Touré was there at the birth of the Black Arts Movement. He was there at the birth of Black Power. In the era of decolonisation, Touré’s visionary poems and essays spoke powerfully to the Tricontinental struggle against the forces of colonialism and white supremacy in Latin America, Asia and Africa. They continue to speak to this struggle today. This 50th anniversary edition of Touré’s visionary 1972 book Songhai! is his first UK book publication and provides a powerful guide to the states and stages of Black radical politics not only during and up to 1972, but into our uncertain future.

Reprinted with a new foreword and original preface by Askia Touré, original introduction by John Oliver Killens, and a new introduction by David Grundy. Illustrations by Abdul Rahman.

Askia Touré is one of the pioneers of the Black Arts / Black Aesthetics movement and the Africana Studies movement. Ishmael Reed has called Touré “the unsung poet laureate of cosmopolitan Black Nationalism.” His poetry has been published across the United States and internationally, including in Paris, Rome, India, and The People’s Republic of China. His books include From the Pyramids to the Projects, winner of the 1989 American Book Award for Literature; African Affirmations: Songs for Patriots: New Poems, 1994 to 2004, and Mother Earth Responds. In 1996, he was awarded the prestigious Gwendolyn Brooks Lifetime Achievement award from the Gwendolyn Brooks Institute in Chicago. Now based in Massachusetts, since August 2019, Mr. Touré has been reading with the Makanda Orchestra, beginning with a celebration of the South African musician Ndikho Xaba.

Death-obsessed, disengaged and overinvested—the four long poems assembled in Steven Zultanski’s Help theatricalise morbid fascinations, self-protective impulses, and unfocused desire. Help is, at its core, a set of conversations; the result of games played between friends that were then transcribed, edited, and embellished. Participants were asked to talk about loss, the death of acquaintances, secret hiding places, mislaid time, and unmet demands. The resulting poems read like meandering scripts for unrealised plays; incidental excavations of persona and place.

Somewhat reminiscent of Linda Rosenkrantz’s Talk (1968) or Alice Notley’s transcription poems of the 1970s, in Help the poet pretends to be a recording device, and the poem an act of remembering. Zultanski’s writing is at once skeletal and overstuffed, dryly unsentimental and yet dripping with melodrama. Help foregrounds its own contradictions in a collection that is at once both extremely personal and distinctly artificial.

Help brilliantly extends Steven Zultanski’s current phase of writing—looser, more documentary, more situational. In setting up explicit objects of inquiry and conversation—love, death, childhood—the book shows that to know these things is to also know our friends and ourselves. Sustained by an orchestration of relation and memory (and thus reality), affect here is modular, the product of what happens when we transform things by talking about them. A careful and astute experiment in writing and living.
 — Jennifer Soong

Across multiple worlds in upheaval, a curious cast of Black queer characters must choose between what they already know themselves to be and what they might yet become in the cataclysm. A shapeshifter learns to embrace their body as it changes through a lunar cycle. A stranger’s visit disturbs three sisters sheltering from monsters that stalk the land. An archivist hears an irresistible call to the rising ocean as she uncovers a surprising history. A mysterious fire sparks whispers of revolution in the mind of a vampire’s captive consort.

At once tender and audacious, Nathan Alexander Moore’s debut collection tells the stories of extraordinary creatures making impossible but human decisions. Traversing apocalypses both big and small, these captivating tales vibrate with the tensions between loss and growth; self and community; precarity and possibility.

Nathan Alexander Moore is a Black transfemme writer. She is an assistant professor at the University of Colorado Boulder whose research explores Black transfemininity, speculative fictions and temporality. Their debut chapbook, small colossus, was published in 2021, and their fiction was shortlisted for the 2022 Santa Fe Writers Project Literary Award. She was a 2023 Lambda Literary Fellow in poetry.

New York-based professor Lytle Shaw journeys to Italy in this adventurous exploration of the life and work of architect, designer, and photographer Carlo Mollino (1905–1973). In 1933 the young Mollino received a commission from Mussolini’s regime for his first building: an administrative centre in Piedmont. Later works include furniture and interior design, a book on photography, and an asymmetrical car that raced at Le Mans in 1955.

The book centres around Shaw’s realisation that this prolific talent’s conflicted legacy offers a unique window on the role that post-war Italian politics and culture played in the country’s reimagining of itself as a victim, rather than a proponent, of fascism.

Cow time meets clerical time meets poet time in Stacy Szymaszek’s gently thrilling Essay. These luminous poem-essays flow with the churning propulsion of dailiness: a roving record of the poet’s ruminations alongside the many cows and calves she befriends. Seeking to honor life beyond usefulness, Szymaszek has given us a large-hearted, gorgeous, and wholly riveting meditation on aging queer life and interspecies friendship on the farm and under capitalism. In Essay, the poet notices, marvels, aches, searches, and wants more for all of us. — Megan Milks

Stacy Szymaszek has long been a poet attentive to work, and this attention is of course animated by place – whether the urban quotidian and attendant human dramas of previous books, or her present workplace on a dairy farm in upstate New York. In Essay’s conversational, immediate, vulnerable, affecting and affected poems, Szymaszek turns to cows and to the cow-like exhaustion of humans who labor in service of capital’s voracity. Essay is bent to the workday but not beaten down by it. We are offered a visionary form, boldly attendant to the present, to prolong survival without denying death.“The heart of the matter is to be able to keep / loving in the face of cow-sorrow unspeakable brevity / unpredictability and contradictions.” In Essay, Szymaszek has built a bed of hay where we can break from our labors and daydream about the “livelihood where we can all work / a single day and have enough for the year and the work / of the cows can be ended.” — Alli Warren

This long awaited reprint of a book about which John Hollander wrote: “A masterful version of one of the most remarkable novels in any language since World War II,” is the story of the narrator’s relations with two women, one terminally ill, the other found motionless by him in a darkened room after a bomb explosion has separated them. “Through more than 40 years, the French writer Maurice Blanchot has produced an astonishing body of fiction and criticism,” writes Gilbert Sorrentino in the New York Review of Books, and John Updike in The New Yorker: “Blanchot’s prose gives an impression, like Henry James, of carrying meanings so fragile they might crumble in transit.”

Translated from the French by Lydia Davis.

‘May my story be beautiful and unwind like a long thread . . .’, she recites as she begins her story. 

The storyteller is the living memory of her time: at once an oracle, weaver, healer, warrior, witch, protectress, teacher and great mother. Her powers are to do with passing on – not only the stories but transmission itself: ‘what grandma began, granddaughter completes and passes on to be further completed.’

In contrast to the idea that a story is ‘just a story’, pioneering postcolonial feminist theorist and filmmaker Trinh T. Minh-ha recodes ideas about truth and fantasy to tell a different story about power, civilisation, history, medicine and magic. Grandma’s Story shows how creative speech is connected to women’s powers of enchantment, drawing upon and speaking with storytellers including Theresa Hak Kyung Cha, Clarice Lispector, Maxine Hong Kingston, Leslie Marmon Silko and Zora Neale Hurston – all who may be known as ‘she who breaks open the spell’. 

The story as a cure and a protection is at once musical, historical, poetical, ethical, educational, magical, and religious.

Pablo Neruda’s Alturas de Macchu Picchu is a poem that distrusts solitary authority even as it passes through a single voice, moving from the lyric “I” toward a collective utterance grounded in labor, history, and shared breath. 

Producing the first collaborative translation of Alturas de Macchu Picchu is not incidental but consonant with its deepest claims. Attentive to Neruda’s unique lyric pressure, this new English version resists the tradition of singular, authoritative renderings by allowing meaning, rhythm, and decision to emerge through dialogue and negotiation. 

In this way, the translation does not merely transmit Neruda’s poem but enacts its insistence that voice is a collective achievement, not a solitary possession.

Là is an immersive, politically charged sound journey – a lament for the Al Naqab desert in Palestine. It is the result of a collaboration between Sirah Foighel Brutmann, Eitan Efrat, Laszlo Umbreit, and Ot Lemmens. The album combines acoustic instruments like flute and cymbals with processed electronics and mechanical sounds. 

The track Ensemble is made from sound recordings of eleven 16mm film projectors, playing simultaneously and in intervals, creating a texture centered around a single pitch – La/A. 

The tracks For Her, There, and No are recordings of live sessions played by Laszlo Umbreit and Eitan Efrat.  

The album also features an extended text by Rose Higham-Stainton titled Strategies for Survival, spread across a 12-page booklet.

Goswell Road publishes ‘Numbered Map’ by Archie Chekatouski, to accompany his exhibition 'You can do so much more with a chair than you can with a painting?'. The publication is edited in 30 copies and focuses on Chekatouski’s Paint-by-numbers Series.

Bio: Archie Chekatouski (born 1996 in Minsk, Belarus) lives and works in Paris. His works are touchingly silly and beautifully simple.
 

FORMS OF LIFE OF FORMS brings artistic research into form – not merely as an aesthetic question but as a social and political one. Indeed, there are no politics without form! With Forms of Life, Rob Ritzen curated several “Moments” that assembled works, collective readings, and other references into a single installation. This publication reshuffles documentation of these “Moments” as a visual reflection of the trajectory of this research.

Rob Ritzen works as a curator with a background in philosophy. His curatorial practice is focusing on self-organized and cooperative formats. Consciously positioned at the margins of established institutions and outside of market-oriented spaces, his practice is placed in close association with communities of cultural practitioners. His initiatives are attempts to reconfigure the politics of making art and alternative forms of production and presentation.

Accompanying a series of solo collaborations in 2020, this publication offers the first comprehensive and global perspective on Jeremiah Day's work as an artist, performer, researcher and teacher. As it details Day's specific works and evolution between visual and performing arts and between political reflection and engagement the result also serves as sourcebook for the legacy of the intersection between dance and the visual arts of the 1960s and 70's and the models of cultural practice emerging from the work of Hannah Arendt.

In his work, the Berlin-based American artist Jeremiah Day (born 1974 in Plymouth) re-examines recent political struggles and conflicts, revealing their subjective contexts and traces. To do this, he has developed a narrative and choreographic form in which personal and political realities intermingle, thus offering a thoroughly singular vision of these at times forgotten moments of history. 

The distinctive feature of his method lies in a transversal approach. As a student of and regular collaborator with Simone Forti, one of the pioneers of Post-Modern Dance, he has turned performance into a now central and structure-providing practice. Since 2014, Jeremiah Day has in effect presented many performances, which contain movement, improvisation, photography and the spoken word, in order to broach universal historical and political subjects, but within an intimate and incarnated context.

Past Words is three books in one: a collection of previously published texts and two exhibition-like experiments: A Year with Prem Krishnamurthy at the KW Institute for Contemporary Art, Berlin, and Endless Exhibition at the Kunsthal Gent. These parts are iinterconnected but distinct, not least because each is designed by a different designer—Ann Richter, David Knowles, Mark Foss & Valentijn Goethals. Together, they chart the past—and future—of a peripatetic performance of a practice, taking stock of a fifteen-year period through writing, a medium that 1s both primary and secondary. This writing is about design, about curating, about exhibition-making, and about how all three are themselves forms of storytelling. They allow us to draft narratives that stand just to the side of accepted realities, to sneak wild ideas into the world with the hope they may—with time—turn into facts. 

Based in Berlin and New York, designer and curator Prem Krishnamurthy (born 1977) is head of the artist group Department of Transformation and of the design consultancy Wkshps. In 2015 he was the recipient of the Cooper Hewitt’s National Design Award for Communication essDesign. As both creator and curator, Krishnamurthy aims to discover “how art & design can be agents of transformation for individuals, communities and institutions.” 

With an introduction by Krist Gruijthuijsen.

This book follows the first exhibition of Robilliard’s notebooks, ‘Disorganised Writings and Sketches’ with Rob Tufnell in Cologne in April 2019. It was made with support from the Elephant Trust and the book’s designers, A Practice for Everyday Life and with assistance from James Birch, one of David’s gallerists, and Chris Hall, custodian of the estate of Andrew Heard. The book is dedicated to Andrew Heard.

Rob Tufnell presents a new publication of extracts from the notebooks of the poet and artist David Robilliard (b.1952 – d.1988). After his premature death from an AIDS-related illness in 1988, Robilliard left a large number of notebooks in the care of his close friend and fellow artist Andrew Heard. These were obsessively filled with drafts of poems, diary entries, addresses and telephone numbers, blunt observations, quiet reflections, short stories, ideas for paintings, portraits and crude drawings. Robilliard’s superficially simple, pithy prose and verse is riddled with the dichotomies of an era that was both exuberant and miserable. His notebooks reveal his creative process, his interests, ideas, ambitions and then his illness but always embody his often repeated belief that ‘Life’s not good it’s excellent.’ 

Many of the books contain the inscription: ‘If found please return to 12 Fournier Street, London E1. Thank you’ – the home and studio of his patrons, Gilbert & George. In their lament ‘Our David’ (1990) they describe their protégé as: 

“...the sweetest, kindest, most infuriating, artistic, foul-mouthed, witty, sexy, charming, handsome, thoughtful, unhappy, loving and friendly person we ever met... Starting with pockets filled with disorganised writings and sketches, he went on to produce highly original poetry, drawings and paintings.”

The publication exists in two editions: yellow and pink.

4 poèmes-affiches, format A3, impriméx en risographie au studio Colorama (Berlin), sur papiers variés, tirage à 150 exemplaires

«GASOLINE, Apocalypse 1998», «the category is: phone sex», «zona nudista», «(fête) sentimental-e-s» : étés d'apocalypse, émojis banane, cruising transocéanique, SMS en short, sales coeurs, baraques à frissons et grand-huit sentimental... ces poèmes courent toustes ~ à genoux, à nu ou en solex ~ après la question du désir, après l'amour aussi, avec une tendre obsession

Design graphique signé Auriane Preud’homme, Enz@ Le Garrec, Roxanne Maillet & Martha Salimbeni, avec des dessins de Gaëlle Loth

Part planetary love poem, part 24/7 news flash, the hypnotic poems of This Connection of Everyone with Lungs wrap with equal, angular grace around lovers and battleships. These poems hear the tracer fire in a bird's song and capture cell division and troop deployments in the same expansive thought. They move through concentric levels of association and embrace —from the space between the hands to the mesosphere and back again—touching everything in between. The book's focus shifts between local and global, public and private, individual and social. Everything gets in: through all five senses, through windows, between your sheets, under your skin.

A fascinating account of Lankton's inquisitive, sociological and emotional ruminations in advance of her gender-affirming surgery.

This is one of the earliest of Greer Lankton's (1958-96) journals, sketchbooks and daybooks to appear in the artist's archives, and the first to be published in facsimile form. Written during her time as an art student at the School of the Art Institute of Chicago, the journal offers key insights into Lankton's mind at work before her career-defining move to New York in 1978, where she would become an important figure of the East Village art scene in the 1980s and early '90s with her lifelike dolls and theatrical sets.

Containing drawings, behavioral diagrams and aspirational, occasionally confessional writing, the journal is a record of imagining the body and mind reconciled through transformation. In these pages, the 19-year-old turns an inquisitive, sociological eye toward the emotional landscape and somatic effects of the days recorded here; days leading up to her decision to undergo hormone treatment and gender-affirming surgery in 1979. Lankton reflects with raw vulnerability and keen self-awareness on critical questions of self-image, social perception, gender normativity and human behavior.

Since its founding in 1995, International Festival of Contemporary Theatre Homo Novus has reshaped the course of theatre development and fostered a vibrant environment for international exchange within our theatre community. The Book of Homo Novus reflects on these achievements, gathering together the initiatives and ideas the festival has launched and continues to nurture within theatre and the wider field of contemporary art.

This bilingual publication brings together over 50 contributors — artists, creators and participants of the festival — who offer personal memories of Homo Novus, outline important theoretical themes, and envision the future of theatre in visual form.

This book is not a memoir inviting readers to revel in past accomplishments. Rather, it positions three decades of experience as a lens through which to consider future trajectories. The interdisciplinary and international nature of Homo Novus has enabled Latvia and the Latvian language to enter broader dialogues on contemporary theatre and festival culture. The book addresses, among other themes, the festival’s role in the development of new theatrical languages, spaces, and audiences, as well as the ethical dimensions of theatre-making — subjects that have thus far been only marginally examined within Latvian cultural discourse.

Text by: Gigi Argiropulu, Inta Balode, Džonatans Barouzs, Beka Bergere, Lauris Bernāns, Kjāra Bersani, Daniels Blanga Gubajs, Silvija Botiroli, Krista Burāne, Cigans, Džej Džordan, Kirils Ēcis, Endijs Fīlds, Izabella Fremo, Lisa Džilardino, Helgarde Hauga, Satu Herala, Inese Immure, Marta Keila, Pēteris Krilovs, Linda Krūmiņa, Gundega Laiviņa, Sodja Zupanca Lotkere, Marija Luīze Meļķe, leva Moore, Oskars Moore, Tobijs Moore, Vija Moore, Eva Ņekļajeva, Ilze Olingere, Santa Remere, Smaidiņš, Laura Stašāne, leva Struka, Imanuels Šipers, leva Štro, Akira Takajama, Baiba Tjarve, Karu Treij, Henrieta Verhoustinska, Guna Zariņa, Henriks Eliass Zēgners

Kenneth Gaburo (1926-1993) is renowned as a teacher, pioneer of electronics in music, jazz pianist, writer, ecologist, publisher, and proponent of compositional linguistics. Over the course of a dedicated career, his uncompromising work carved out its own patch in the territory of American experimentalism.

Lingua Press, 1976

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.