Books

L’Île-de-France a été engloutie. Submergée par de l’eau liquide. C’est à peu près tout ce que l’on sait. Crue est un long poème construit sur un rythme ternaire, une suite de tercets libres entrecoupés de symboles typographiques étranges dont la signification exacte semble avoir été perdue dans l’inondation. Il y a dans le va-et-vient soutenu du texte comme dans celui de la mer, ses gestes répétés, toujours successifs, quelque chose de l’automation ; l’acceptation sans révolte d’une nouvelle nature sous-marine hybride, plus uniquement humaine, à la langue noyée, gorgée de néologismes, méthodique, néanmoins sentimentale. Car ici la cruauté sinistre de la nature fait écho aux émotions du narrateur. Le paysage-état d’âme est désolé, apocalyptique mais comme résigné, nu. Crue sonde les abysses de la civilisation et des comportements humains. Peut-être un des textes les plus personnels de Théo Robine-Langlois.

An English translation of Peter Handke’s 1986 novel Repetition, previously out of print for a quarter of a century.

“In Repetition, Handke allows the peculiar light which illuminates the space under a leafy canopy or a tent canvas to glisten between words, placed here with astounding caution and precision; in doing so, he succeeds in making the text into a sort of refuge amid the arid lands which, even in the culture industry, grow larger day by day.” —W. G. Sebald

“In his earliest work … Handke found a way of conveying a state of mind … where words seem to come between you and the world, where nothing coheres or appears natural, and from the vantage-point of which the ease with which other people talk and go about their business seems deeply suspicious. But just as Kafka felt there were moments when, miraculously, a written sentence – even one written by himself – seemed full light, seemed to fill its own space and establish its own rhythm, and when even the whole story seemed mysteriously to stand as solidly in the world as a tree or a rock, so it has been with Handke. He has, in his later work, appeared to make a conscious effort to escape from the debilitating awareness of his own lack of authority or authenticity, and tried to write as though somehow the story were already written, had, in a sense, always been there… Repetition is the triumphant climax of his career so far…

What saves the book from the sort of sentimentality we find in John Berger’s recent work is first of all Handke’s uncanny ability to convey what it is this urge for pattern has to overcome, and secondly, his extraordinary attention to detail, historical, geographical, botanical, and linguistic. (No review can possibly convey the richness of Filip’s meditation on his brother’s two books, or Handke’s magical way with images.)

His narrative … is one of the most dignified and moving evocations I have ever read of what it means to be alive, to walk upon this earth.” —Gabriel Josipovici

les petites histoires sont quatre courtes fictions contemporaines. Entre le lonely langoureux New York des années deux mille, le pont poétique et capricieux de Louis 2 de Bavière, l'histoire vraie de Sandy Stone dans les seventies et la satire cinglante et drôle d'une galerie d'art, ces livres sont de brefs univers vivants et curieux.

En 2025, quatre petites histoires sont racontées par quatre auteurices dans quatre livres : L'effondrement du pont de Sam Bouffandeau ; The Gallery de S. M. Drogo ; Exit de Juli Le Nahelec; «Que faire de Sandy Stone?» de Mia Trabalon.

L'édition des petites histoires a été imaginée par Élise Comte, Chloé Delchini, Perrine Estienne, Gabriel René Franjou, Justine Gensse, Bastien Hauser, et Cyprien Muth. Ce collectif d'éditeurices est né à Bruxelles, où les petites histoires ont été imprimées, chez Graphius. 
La maquette, réalisée par Chloé Delchini, à été composée avec Otto, une typographie dessinée par Sam de Groot et Laura Opsomer Mironov, chez Dinamo Typefaces.

Through the Billboard Promised Land Without Ever Stopping is Derek Jarman’s only piece of narrative fiction. Written in 1971, it is a surreal, fabular, lyrical work – a literary fairytale acid-trip road movie hybrid – the energies and details of which influenced much of his later work across media. The story serves as a foundational text, laying out many of the themes, images and styling of Jarman’s work in painting, film and design whilst also being haunted by the then emerging ecological crisis in its juxtaposition of the beauty of nature with the reckless consumption of modernity.

This edition features facsimile images of the story’s handwritten drafts from Jarman’s archive, a link to an exclusive audio recording of Jarman himself reading the story in full, and is comprehensively informed by a vivid foreword from Philip Hoare, a deeply researched afterword by Jarman scholar Declan Wiffen, and a warm memoir by the artist Michael Ginsborg, a close friend of Jarman’s throughout the period of the story’s writing.

The involuntary whispering of the dew-harvest.

A grimoire carved in scarlet, SALAMANDER'S WOOL is the inaugural full-length collection of writing by V Manuscript, amalgamating a vast array of arcane rituals into an ensorcelling poetic corpus. To read SALAMANDER'S WOOL is to consort with spirits and scry with dæmons, a linguistic alchemy which transmutes both language and reader.

V Manuscript is a poet and scriptomancer living in New York City.

When Ursula K. Le Guin started writing a new story, she would begin by drawing a map. The Word for World presents a selection of these images by the celebrated author, many of which have never been published before, to consider how her imaginary worlds enable us to re-envision our own.  

Le Guin’s maps offer journeys of consciousness beyond conventional cartography, from the Rorschach-like archipelagos of Earthsea to the talismanic maps of Always Coming Home. Rather than remaining within known terrain, they open up paradigms of knowledge, exemplified by the map’s edges and how a map is read, made and re-made, together. The Word for World brings her maps together with poems, stories, interviews, recipes and essays by contributors from a variety of perspectives to enquire into the relationship between worlds and how they are represented and imagined. 

Contributors: Federico Campagna, Theo Downes-Le Guin, Daniel Heath Justice, Bhanu Kapil, Canisia Lubrin, Una McCormack, David Naimon, Nisha Ramayya, Shoshone Collective, Standard Deviation, Marilyn Strathern. 

Co-published by Spiral House and AA Publications to coincide with an exhibition of Ursula K. Le Guin’s maps at the Architectural Association, London, opening on 10 October 2025.

”One of the literary greats of the 20th century.” Margaret Atwood

In early 2024, writer and activist susan abulhawa managed to enter Gaza twice through the Rafah crossing. There, at the Culture and Free Thought Association, susan held a series of workshops for young people who had been displaced to tent encampments. The lives of all participants were marked by unrelenting Israeli violence and extraordinary loss—of home, family, safety, education, electricity, and all the structures of life. They’d fled from place to place as Israel’s colonial violence swirled around them, complete with food and water insecurity and constant threat. Still, despite the bitterness of life in tents and the dangers of travel, they came together to share in the refuge of writing and community.
 
Samya recounts a tender moment with an old man mending shoes in the street, while her cousin Saja hides books in her closet, hoping they and her home will still be there when she returns. Ghassan is haunted by the baby he rescued from the rubble, who for a time became his son. Fatima risks it all retrieve her clothes from a danger zone buzzing with drones and warplanes. Maram’s loving aunt is gone, and chaos inhabits Amr’s mind. Samah, Lubna, Rizq, and Nebal take us by the hand through raining death, trails of tears, classroom shelters, and shared clothes in crowded tents.
 
Every Moment Is a Life delivers rare, unfiltered portraits of life under genocide, platforming the emerging voices struggling to survive in Gaza today. These essays are raw and real, capturing human moments—buying bread, going to the bathroom, sharing a meal, drinking coffee—all set against the backdrop of history’s first livestreamed ethnic cleansing. With courage, anger, love, agony, and—impossibly—hope, these achingly tender voices from Gaza will stay with us, captured in these pages, forever.

A children’s book without a specific age category, offering a glimpse into the small rituals and shared moments that shape a day with Fifi Paris.

Fifi, a Pomeranian-Chihuahua mix, came into the lives of Angelica and Kris a few years ago. Taking care of a puppy is taking responsibility for building their world and letting the small animal transform yours. As her human caretakers, the authors created Fifi’s world with toys, cuddles, rules, snacks and walks in the park. In return, she transforms our world by bringing our community together and reminding us of the importance of caring for one another. In this book, Kris and Angelica narrate a day in the life of Fifi, from the moment she wakes up to when she falls asleep at night. Along the way, they share how they connect with her, how they see her understanding her surroundings and what she has taught them about companionship.

Design by Amy Suo Wu
Copy-editing by Clem Edwards
Photography by Lili Huston-Hertreich

"Luna" (2021) is a graphic novel by Artist and illustrator Anat Martkovich, developed in collaboration with artist and illustrator Haithem Haddad. It was self published, with support by the Pais Foundation for the Arts. 

The novel follows two days in the life of a family, and at its center is a dramatic event which drastically affects the lives of the family members. 
The story develops in an a-linear and fantastic fashion, and attempts to present the impossible reality of violence within and outside the home. 
The book is comprised of detailed black and white illustrations, with very little text accompanying them.

The little text alternated between different languages: Russian, Hebrew, Arabic, English and Hebrew sign language, depicting a complex and multi layer urban existence. The story is open to the reader's interpretation, though it is firmly set in a mundane everyday reality it opens up and presents us with fantastic possibilities of existence. 

Elizabeth in the Woolds is the product of two superimposed compositional strategies; a thematic aggregate based on notes dating back to 2008 and an epic prose narrative. Elizabeth is the device through which this simultaneous register moves. Screen writing provides a model for multiple voices. In a film script, the narrator can be the camera; there’s a machine at the centre of the story structure which figures a demand for resolution of plot; a contrario, the thematic approach (S, U, N, as electric light) obliterates chronology, and enumerates an atemporal topological figure, or the way the world is built.

(730pp., self-published first edition of 50, Kortrijk, 2021) 

Brooklyn-based poet Asiya Wadud's fifth collection of poetry, Mandible, Wishbone, Solvent, engages migration, climate change, race, sexuality, and art-though not necessarily in that order-with a dynamic urgency and graceful restraint held in balance by a deep literary investment in the historical aesthetics of abstraction.

Punctuated by images of Wadud's own original art, the poems and prose of Mandible, Wishbone, Solvent offer an indirect meditation of the concepts of the drift ("Embedded in the act of drift can be the prior commitment or desire against drifting") and the isthmus ("An isthmus is a passageway, a threshold, underbrush, thicket, and deliverance"). Wadud constructs a latticework through which language circulates and creates new patterns that probe the natural world's edges, fissures, gaps, and seams. Further, the lyric poems suggest a relationship between speaker and environment that yearns to invert or dissolve the subject-object divide, creating instead an isthmus that joins and allows a drifting between them.

This publication presents a survey of the work of Els Dietvorst from 2010 to 2014. This is also the period in which she left Brussels to live in a village on the south-east coast of Ireland, where she focused on projects such as The Black Lamb. The audio piece One was killed for beauty, another one was shot, the two others died naturally is included on an audio CD.

Els Dietvorst E.D. (2010–2014), Rolf Quaghebeur, Eva Wittocx, Katleen Weyts, Els Dietvorst, Brussels, 2014.

Brussels is an amalgam of juxtapositions: a place that inspires you to dream away on sultry summer nights before hitting you with its rough reality the next day. It is a city that you slowly fall in love with until you can no longer imagine wanting to live anywhere else. However, it’s a special kind of love, a kind of love that keeps you critical, a kind of love that keeps you questioning the space that you inhabit as you wonder how we as a community can do better. 

This Subjective Atlas of Brussels showcases the work of designers, artists and other creative minds who all share this kind of love for Brussels, depicting the diverging narratives and histories of different spaces, allowing us to dwell on the fascinating snapshots that make up this great metropolis. Discover how more than 80 Brusseleirs have mapped what  this capital means for them at this moment in time.

EDITORIAL TEAM: Petra van Brabandt, Margrit Coppé, Lisemarie van Loon (intern), Erika Sprey, Kurt Vanbelleghem
INTRODUCTION: Melat Gebeyaw Nigussie

A journey through the artist's work and life.

William Anastasi is the author of a prolific body of work. A major figure in conceptualism and in many respects one of its initiators, his trajectory cannot be solely confined to this chapter in the history of contemporary art. The book revisits, through the prism of multiple voices, the various aspects of an approach that unfolded with the use of complementary mediums. Drawing coexists with photography and "new" technologies, alongside objects, paintings, and installations. Within this corpus to be (re)discovered, sounds, images, and language, as well as artifacts, protocols, and processes, convey inquiries related to space and time, representation, and perception. With contributions from Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, and Erik Verhagen.

Edited by Erik Verhagen.
Texts by Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, Erik Verhagen.

Foundlings, a video film, was shot near Wexford, in the south east of Ireland where she grew up. This visual poem without a particular narrative and full of autobiographical elements is set at a very slowed down pace. Floating images and heavy voices are central to the associative strategy that is at work here. The images allow one to listen to a hypnotic voice, while at the same time allowing the eyes to wander... to daydream... to travel over drawn out time. The images are country images, images of repetitive calm, the kind of calm one finds between awake and asleep. The speed of the sea sets the pace, regular yet irregular. The images are inhabited by people who cannot speak. Who are busy doing nothing, except passing time. Silent brothers and sisters of the sea.

The soundsculpture Unsaid, a joint work by Orla Barry and Portuguese artist Rui Chafes (1964), is very opposite to the film. The film is full of open spaces and bright colours. The sculpture is black, closed and claustrophobic and on top of that it is housed in a narrow tower five meters tall. The visitor has to take place on a rather unconventional chair and put his head in a closed off sphere, surrounding himself by darkness and leaving him with his own heartbeat. A voice addresses the visitor directly on highly intimate terms. The seating is hard and uncomfortable. One has to be strong to experience this piece that is a perpetual struggle between body and mind.

At the occassion of Barry’s show argos editions published Foundlings, a combined artist book and catalogue that can be ordered through argos. The book includes a DVD.

Orla Barry (1969) is an artist who centres her practice on language, written and spoken. Her work is strongly poetic and lyrical, crossing a wide variety of media. Barry was born in Ireland, and the rhythm of her phraseology, the pictorial and narrative vernacular on which she draws, somehow evokes her homeland’s topography, climate and literary heritage. At argos the artist presented two new works.

Chris Korda (b.1962) is an American antinatalist activist, techno musician, software developer, multimedia artist and founder of the Church of Euthanasia. For the past 30 years, her work has spanned avant-garde performance, happenings, culture- jamming, photography, video, audio and so much more - though her work as an engineer, coder and software developer remains less known to the general public.

This book posits that her software and coding work are linked to her more well-known activist and music work, informing and reforming each other for over 30 years, inhabiting up until now parallel timelines that have been closening over the decades, honing in on a common creative goal: to reveal her as she should be revered, as an Inventor-Artist.

“Any outcome is inevitably shaped by the tools used to achieve it. In industrial civilization, most people use the same standardized tools and therefore achieve similarly standardized outcomes. But imagine discovering a tool for making tools. The outcomes are now limited only by toolmaking skills. This is how computer programming changed my life.”

She refers to her generative artworks, audio and visual, as kinetic sculptures. Working in collaboration with her algorithms, she does not use the machine as a ‘servant’ but rather:

“I invite them into the creative space as equals. They have abilities that I don’t have, and I also have abilities that they don’t have, so we complement each other. They supply speed and precision, I supply desire and intuition, and what emerges is greater than the sum of the parts.”

Thus, on the occasion of the exhibition of the same name, we dedicate this book to Korda’s generative audio-visual synesthetic work 'Adagio For Color Fields' (2023) - a piece that breaks the silence - using it as a lens to bring into focus Korda’s work as an innovative Inventor-Artist.

Kamelya Omayma Youssef’s A book with a hole in it uses the poetry of the fragment and the language of everyday survival to gesture towards the fallibility of language at the juncture of the multiple, intersecting wars on women, on "terror," on the non-White body, and on people and language in diaspora. Drawn from a set of journals written over a four-month period, A book with a hole in it throws the formal, official work of poetry into relief, asking what knowledge exists beyond knowledge, which silences are too deep to be surfaced on the page, and how to pierce through trauma and violence to approach a politics of redemption.

In Hopscotch, Fatemeh Shams crafts a vivid liminal world of Berlin-based poems, a canvas where home and exile blur into an intimate middle ground. Her work, geographically and metaphorically situated between her birthplace in Iran and her current life in exile, evokes a “third space”—a realm of creative liberation and a sanctuary for the play of memories, language, and place. Shams frames this space with tangible metaphors—airports, suitcases, the thresholds of nightclubs. Her poems, like the game of hopscotch itself, leap over borders with a childlike agility, contrasting against the harsh reality of exile. They invite us to consider our own places of belonging and the potential spaces we inhabit—those rich intersections of language and lived experience. 

Fatemeh Shams is the author of 88 (Gardoon, Berlin), Writing in the Mist (H&S Media, London), and When They Broke Down the Door (Mage, Washington D.C). Her poems and translations have been published in Poetry magazine, the Michigan Quarterly Review, The Penguin Book of Feminist Writing, and elsewhere. Fatemeh grew up in Mashhad, Iran and is an Associate Professor of Persian Literature at the University of Pennsylvania.

Armen Davoudian is the author of The Palace of Forty Pillars, published by Tin House (US) and Corsair (UK). His poems and translations from Persian appear in Poetry magazine, the Hopkins Review, the Yale Review, and elsewhere. Armen grew up in Isfahan, Iran, and is a PhD candidate in English at Stanford University.

Proposed by Chris Evans, Sudden Wealth is a collaboration with Morten Norbye Halvorsen, Graham Kelly and invited poets and artists who use spoken word as their medium. 

Sudden Wealth looks to how the flux of subjectivity in language can be shaped, agitated and re-imagined through a triangulation between written composition, intonation, and extrinsic sound composition. The latter spans analogue and digital instrumentation, foley recordings and algorithmically derived musical patterns. Divergent methods of composition work on and into a voice, modelling intonation, and affecting its sense and intent. 

This first iteration has been made with Roy Claire Potter, an artist who tells stories from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. A rapid vocal delivery, a sense of restricted or partial views of space, complex social and group dynamics and the aftermath of violent events are recurrent strands of Potter’s writing, which are often delivered with a dark and sometimes wilful humour. 

Chris Evans was the bassist with the now defunct Life Without Buildings and has previously produced musical compositions with Morten Norbye Halvorsen together with farmers and accountants for his ongoing series ‘Jingle’. Graham Kelly joins Evans and Halvorsen for this present series, Sudden Wealth.

Vocals: Roy Claire Potter.
Electronics: Morten Norbye Halvorsen.
Bass: Chris Evans.
Guitar: Graham Kelly.
Arranged and mixed by Morten Norbye Halvorsen.

Taking readers from suburban carports to wintry Russian novels, from summer tomato gardens to the sublime interiors of presleep thoughts, Magdalena Zurawski's poems anchor the complexities of our interconnected world in the singularity of the human experience. Balancing artistic experimentation with earnest expression, achingly real detail with dazzling prismatic abstraction, humor with frustration, light with dark, she offers a book of great human depth that is to be carried around, opened to anywhere, and encountered.

Magdalena Zurawski is the author of the novel The Bruise, which won the Ronald Sukenick Award from FC2 in 2008 and a LAMBDA literary award in 2009, and the collection of poems Companion Animal, which was published by Litmus Press in 2015 and won a Norma Faber First Book Award from the Poetry Society of America. She attended Brown University where she studied with poets Rosmarie and Keith Waldrop, C.D. Wright, and Peter Gizzi. She has lived in Berlin, New York, Philadelphia, San Francisco, and Durham, NC where she ran the Minor American Reading Series. She is currently Assistant Professor of English and Creative Writing at the University of Georgia.

Published April 2019

Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi internet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a "worthy" narrative when a fucked up collage will do. Rather than a cohesive "account" of a "school" of poets, or a "contribution" to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture.

Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its "theoretical" preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing "march of events." The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities.

The book's title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do.

Born in Korea, raised in the American South, and trying her best to survive British academia, SJ Kim probes her experiences as a writer, scholar, and daughter to confront the silences she finds in the world. With curiosity and sensitivity, she writes letters to the institutions that simultaneously support and fail her, intimate accounts of immigration, and interrogations of rising anti-Black and anti-Asian racism. She considers the silences between generations―especially within the Asian diaspora in the West―as she finds her way back to her own family during the pandemic lockdown. Embracing the possibilities and impossibilities of language, Kim rejoices in the similes of Korean, her mother tongue, and draws inspiration from K-dramas and writers who sustain her, including Yusef Komunyakaa, Don Mee Choi, Toni Morrison, and Theresa Hak Kyung Cha.

Longlisted for the 2025 Andrew Carnegie Medal for Excellence in Nonfiction.

Echoing Jean Dubuffet's idea that thought must arise from material in artistic practice, Giuliana Prucca, through this essay, reinterprets a moment in the history of 20th-century art using materials such as stone, sand, earth, and dust. She employs the mineral to illustrate that the creative act would be a trace of the body's disappearance. The loss of humanity and the deconstruction of the subject objectify themselves in the image. In other words, art resides in the tension between representation and its loss, ultimately leaving nothing but an image.

Drawing from the influential figure of Antonin Artaud, she weaves critical and poetic connections between the texts and works of various artists, writers, and thinkers, ranging from Jean Dubuffet to Jan Fabre and Anselm Kiefer, Yves Klein and Gutaï, Joë Bousquet to Camille Bryen and Francis Ponge, Gaston Bachelard to Gilles Deleuze, and Georges Bataille to Aby Warburg.

The material is not merely a thematic pretext; it is an active and explosive catapult that questions the arbitrary linearity of a conventionally assimilated art history. Following Ponge's example, Prucca applies the principles of poetry to criticism, starting from Artaud's material, the most undisciplined of poet-artist-thinkers of the modern era. This results in a critically inventive approach dangerously suited to its object, celebrating an anti-critique. The chosen writing materials, stonepaper for the cover and recycled paper for the pages, is consistent, intending to give the impression of being covered in dust.

The essay disrupts traditional reading habits and shatters the conservatism of art criticism by inhabiting writing space differently, presenting a physically engaging interaction. This is an essay in the literal sense, an experience where form never contradicts content, urging readers to take the risk of thinking deeply and embracing a new rhythm. A complex and challenging design invites them to choose different reading options, ultimately treating criticism as one would poetry.

Giuliana Prucca [Paris | Berlin] is an independent curator, researcher, and writer. She is the founder and art director of the publishing house AVARIE, specialising in contemporary art books that explore the relationships between text and image, body and space.

Graphic design, art direction by Vito Raimondi

In the long interview that forms the body of this publication, Éliane Radigue talks about her work, her reflections and underlying research, as well as her historical context. The publication also contains a commented list of works and Radigue's programmatic text on The Mysterious Power of the Infinitesimal.

New expanded edition of the book first published in 2019.

Éliane Radigue (born 1932 in Paris) is considered one of the most innovative and influential contemporary composers, from her early electronic music through to her acoustic work of the last fifteen years. Influenced by musique concrète and shaped by regular sojourns in the United States, where she discovered analogue synthesisers, her work unfolds an intensity which is at once subtle and monumental. Through her deep reflections on sound and listening, not only her music but also her working methods have come to shape a widely resonating set of new parameters for working with sound as musical material.

Julia Eckhardt is a musician and curator in the field of the sound arts. She is a founding member and artistic director of Q-O2 workspace in Brussels, for which she conceptualized various thematic research projects. As a performer of composed and improvised music she has collaborated with numerous artists, and extensively with Eliane Radigue. She has performed internationally, and released a number of recordings. She has been lecturing about topics such as sound, gender and public space, and is (co-)author of The Second Sound, Conversation on Gender and Music, Grounds for Possible Music, and The Middle Matter, Sound as Interstice.

Edited by Julia Eckhardt.
Texts by Éliane Radigue and Julia Eckhardt.