Semiotext(e) - 20.00€ - in stock
A collection of interviews that deal explicitly with the relationship between daughter and mother, the sexuation of language, the symbolic order, and the importance of both history and philosophy for the liberation of the feminine subject.
For Luce Irigaray, one of the most original French feminist theorists, deconstructing the patriarchal tradition is not enough. She admits that it is not an easy task, but she believes that it is necessary to also define new values directly or indirectly suitable to feminine subjectivity and to feminine identity. She begins this project by analyzing and interpreting the absence of the feminine subject in the definition of dominant cultural values. She then wonders how these new values can be constructed without simply reversing the roles. Far from implying a hierarchy, difference affirms the coexistence and fruitful encounter of two different identities. These two heterogeneous identities, masculine and feminine, are not socially but ontologically constructed and describing the feminine requires establishing methods other than those already used by the masculine subject. Why Different? is a collection of interviews, conducted in both France and Italy, that deal explicitly with the relationship between daughter and mother, the sexuation of language, the symbolic order, and the importance of both history and philosophy for the liberation of the feminine subject. In Why Different? Irigaray elaborates on issues brought up in her other books, Speaking is Never Neutral, I Love to You, Thinking the Difference, and To Be Two and brings them to fruition.
Edited by Sylvère Lotringer.
Translated by Camille Collins.
Semiotext(e) - 15.00€ - in stock
Borrowing its name from the notorious '60s Ed Sanders magazine, Fuck You: A Magazine of the Arts, the editors have figured a way to rehone its countercultural and frictional stance with style and aplomb. A unique and provocative anthology of lesbian writing, guaranteed to soothe the soulful and savage the soulless. Includes Adele Bertei, Holly Hughes, Sapphire, Laurie Weeks, and many more.
Semiotext(e) - 18.00€ - out of stock
A manifesto for "toxic girls" that reclaims the wives and mistresses of modernism for literature and feminism. On the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants about the fates of the modernist "wives and mistresses." In her blog entries, Zambreno reclaimed the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community where today's "toxic girls" could devise a new feminist discourse, writing in the margins and developing an alternative canon.
In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it--from T. S. Eliot's New Criticism to the writings of such mid-century intellectuals as Elizabeth Hardwick and Mary McCarthy to the occasional "girl-on-girl crime" of the Second Wave of feminism--she traces the genesis of a cultural template that consistently exiles female experience to the realm of the "minor," and diagnoses women for transgressing social bounds. "ANXIETY: When she experiences it, it's pathological," writes Zambreno. "When he does, it's existential." By advancing the Girl-As-Philosopher, Zambreno reinvents feminism for her generation while providing a model for a newly subjectivized criticism.
Semiotext(e) - 18.00€ - in stock
The only collection of Rattray's prose: essays that offer a kind of secret history and guidebook to a poetic and mystical tradition. Since its first publication in 1992, David Rattray's How I Became One of the Invisible has functioned as a kind of secret history and guidebook to a poetic and mystical tradition running through Western civilization from Pythagoras to In Nomine music to Hölderlin and Antonin Artaud. Rattray not only excavated this tradition, he embodied and lived it. He studied at Harvard and the Sorbonne but remained a poet, outside the academy. His stories "Van" and "The Angel" chronicle his travels in southern Mexico with his friend, the poet Van Buskirk, and his adventures after graduating from Dartmouth in the mid-1950s. Eclipsed by the more mediagenic Beat writers during his lifetime, Rattray has become a powerful influence on contemporary artists and writers. Living in Paris, Rattray became the first English translator of Antonin Artaud, and he understood Artaud's incisive scholarship and technological prophecies as few others would. As he writes of his translations in How I Became One of the Invisible, "You have to identify with the man or the woman. If you don't, then you shouldn't be translating it. Why would you translate something that you didn't think had an important message for other people? I translated Artaud because I wanted to turn my friends on and pass a message that had relevance to our lives. Not to get a grant, or be hired by an English department." Compiled in the months before his untimely death at age 57, How I Became One of the Invisible is the only volume of Rattray's prose. This new edition, edited by Robert Dewhurst, includes five additional pieces, two of them previously unpublished.
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