Essays

Writing on Raving is the definitive mix of voices from the Brooklyn underground rave scene and beyond, providing fresh language for the shared and infinitely varied experience of dancing through the night until the morning.

New York rave culture is having a moment. The music, mostly, is techno, certain flavors of which became the soundtrack to a dancefloor culture that is queer in a different way to house music centered gay nightlife. Wark, Mak and Beery want to document and annotate and celebrate, but also critique, this world in the making. Writing on Raving centers the New York scene, but isn't limited to it.

This is a book for all of those who need the rave. Who need to dance. Who have at some point needed that beat in their lives. This is a book for all those who have journeyed through the night, through sound, through movement, through chemistry, into other places, other times, other encounters.

This seeking gives us hours, years, on the dance floor to think about why we rave, to locate these reasons in our bodies and the space around us. But the rave is not the place to articulate them. It is too loud; our friends are too distracted, or too high. At the afters, tired and drained and covered in schmutz, we think some more. We look around at our raver friends, and wonder: How did we get here? What happened to us? What is this tentacular, thrashing, swelling thing that we all made together? That thing that is now slumped and aching and coming down now into our fragmentary, singular lives

Between all of us, there are many answers to such questions. Wark, Mak and Beery have gathered their favorite ones to share in this first-ever anthology of writing on raving.

McKenzie Wark is a writer and scholar based in New York City. She is the author, among other things, of Raving (2023) and Life Story (2024).

Geoffrey Mak is the author of Mean Boys: A Personal History (Bloomsbury, 2024).

Zoë Beery is a freelance journalist based in Brooklyn, and a nightlife harm reduction organizer at parties and festivals in the U.S. and Europe.

The fast-growing stinking escaped waste-loving wall-breaching self-cloning other-than-natural no-man’s tree is a 4000-word bilingual English-Arabic photo essay examining the ecological, political and historical significance of ailanthus altissima (tree of heaven) in occupied Palestine. Introduced by the Jewish National Fund during its Jerusalem Forest afforestation projects from the 1960s to 1980s, this tree flourished across various urban fringes, roadside areas and seemingly abandoned land. Known for its pungent odour, which earned it the nicknames ‘tree of hell’ and the ‘stinking tree’, it is now classified by the Israeli Ministry for the Protection of the Environment as an invasive species. 

Drawing on her formative experiences in Palestine and an interest in trees as political agents, Palestinian architect, artist and researcher Areej Ashhab provides a first-hand account of the invasiveness embodied by this unregulated, fast-growing weed-tree. The text is enriched by annotations by Catalan-British trans writer, researcher and community organiser Ailo Ribas, who unpacks the concepts of 'weediness' and explores issues of belonging and resistance within Palestine’s settler colonial context. Accompanied by recent photographs of the tree across Palestine, the publication lays bare the intricate root system and complex ecologies that underlie our geopolitical narratives.

This publication was realised through the support of Sharjah Art Foundation’s annual publishing grant (2023). 

Pathemata, Or, The Story of My Mouth is an experiment in interiority written in the pandemic studio. Something of a companion piece to 2009's Bluets, Pathemata merges a pain diary chronicling a decade of jaw pain with dreams and dailies, eventually blurring the lines between embodied, unconscious, and everyday life.

In scrupulously distilled prose, Pathemata offers a tragicomic portrait of a particularly unnerving and isolating moment in recent history, as well as an abiding account of how it feels to inhabit a mortal body in struggle to connect with others. Formally inspired by Hervé Guibert's The Mausoleum of Lovers, and conceptually guided by Gilles Deleuze's notion of artist as symptomologist, Pathemata is yet another urgent innovation from Maggie Nelson in the art of life-writing.

The poet, the unknown being… a loony, a dreamer, a hermit. The poet writes poetry… but really, what is poetry? Arts, politics, mere amusement?

This little book is an insight into the mindset of someone who just can’t help but to be a poet. It is a manifesto for the freedom of thought and expression, an essential source of motivation and inspiration for readers and writers alike.

Anisur Rahman (b.1978) made his poetic debut in 2003. As a journalist, translator and playwright he has further contemplated the poetic mind. Born in Bangladesh, he writes in both Bengali and English, but nowadays lives exiled in Sweden.

Who is the Oriental Cyborg? asks Aditi Kini in this collection of notes, jokes, and queries into the provenance of a creature designed for labor, 3-D printed in the technoscientific post-colonies, modeled on old automata. Race is a technology, that we know, and technology can be raced — so why inquire into this at all? Perhaps this, the Oriental Cyborg, is a fantasy more than a memory, or an echo more than a form — or just an essayist’s extraction of personal anguish and humor from globalist decay.

Taking on the form of historical analysis / lyrical essay / documentary poem / experimental buzzword / positionality statement, this chapbook and its titular character might still be an elusive mystery even after reading.

“’What is a ghost but a person removed from corporeality?’ This is one among layers of questions Aditi Kini poses in Oriental Cyborg, a lyrical excavation into survival in the era of techno racial capitalism, and its “deleting touch” that so easily voids—reduces to faceless services—the exploited individuals performing various acts of techno-labor. A grieved searching drives this hybrid essay, which feels urgent and necessary as threats from AI grab headlines. This work compels us to see our culture’s love affair with technological progress as a means for continued colonization and domination. It also reminds us, and celebrates, that those erased don’t stay silent forever. We privileged may not be able to hear them yet, but those who are listening know. They roar.” — Allison Cobb

“In the mirror of Aditi Kini’s Oriental Cyborg, I become the monster—a hopeless automaton, an intelligence stripped of roar. With titanium-threaded theory, Kini radiantly stitches together the ideal Asian working machine. Get your own Oriental cyborg today: super dazzling and sexy, historically embroidered, an oracular truth who never tires, never complains, forever mute, what perfection!” — Lily Hoàng

Aditi Kini is an undisciplined writer. They’ve done both NYC and the MFA (at UC San Diego). They were a finalist/alternate for the 2020-22 Jerome Award for Literature. They edit Lumpenpockets, “a nonquarterly sick rag.” Read their words in Hayden’s Ferry Review, The Rumpus, Denver Quarterly, The New York Times, and elsewhere. They’re at work on multiple projects, all at once. They are blessed with two dogs, Lucy the Happy and Charly Kong, who make life worth living.

Weaving Language I: Lexicon is the first book in the Weaving Language series, which examines the poetics of weaving traditions through historical research as well as contemporary practices. Attempting to dismantle and rebuild commonplace understandings of the history of writing, Weaving Language focuses on fiber-based forms as a longstanding but often overlooked medium for record-keeping, storytelling, and poetry.

In Weaving Language I: Lexicon, weaving processes are mapped onto English grammar to suggest a method for reading woven works. Offering visual vocabularies as both discrete concrete poems as well as a collection of translatable terms, this book invites readers, writers, and weavers to participate by considering weaving as a system that can be decoded. Textile forms are broken into the basic building blocks of language, presented as a visual/textual lexicon.

Weaving Language I: Lexicon was initially self-published by Capone in 2012 and in 2015 re-issued in an edition of five as an artists’ book, which was awarded the Frances Mason Harris ’26 Prize from Brown University.

Essay Press’s edition makes this important work available for the first time in a trade edition. The edition has also been newly edited and significantly expanded into a multivocal work that represents the contributions of a small collective of artists including Martha Tuttle, Allison Parrish, Sarah Zapata, Adjua Gargi Nzinga Greaves, Amaranth Borsuk, and Imani Elizabeth Jackson, thanks to funding from the Oregon Arts Commission and the Ford Family Foundation. The book also includes an afterword by Kit Schluter and diagrams by Anni Albers (with permissions from the Josef and Anni Albers Foundation).

Plans are underway to similarly expand and reissue the two additional books in the series both previously published in limited editions currently out of print: Weaving Language II: Language is Image, Paper, Code, & Cloth (information as material, York, UK, 2018) and Weaving Language III: Writing in Threads (Center of Craft, Asheville, NC, 2017). The Weaving Language project has been accompanied by numerous gallery shows, including “Material Memory,” a show running from October 7 through November 9, 2022, at Nationale in Portland, Oregon, to accompany the release of the Essay Press edition of Weaving Language I.

Artists’ books from the Weaving Language series are held by the collections of the Museum of Modern Art Library in New York, NY; the Thomas J. Watson Library at the Metropolitan Museum of Art in New York, NY; the Harris Collection of American Poetry and Plays at the John Hay Library at Brown University in Providence, RI; and at the Joan Flasch Artists’ Book Collection at the School of the Art Institute of Chicago in Chicago, IL.

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.

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.

Empathic Intimacies: A Touch That You Can Really Feellllll is two essays written 2 years apart (April 2020 and April 2022), published together to create a timeline between two points during the pandemic.

Imperfect Archiving, Archiving as Practice: Queer Bibliographic Explorations is a special expanded 5th edition centering on archiving as artistic practice. This manifesto talks to the core of GenderFail collecting and archiving practices that look to the softness as a metaphor for the material and content of artist-made publications. The GenderFail Archive Project is a socially engaged reading room that looks at archiving as practice. The project stems from GenderFail’s desire to share the publications from their personal library archive and give a platform to other publishers that they cherish. This publication features and highlights over a hundred artist books, art books, and zines.

This edition features a new section previously unpublished, showing bibliographies created for exhibitions and programs with the GenderFail Archive project at spaces such as Wendy's Subway, The Studio Museum of Harlem, and Cleveland Institute of Art's Reinberger Gallery.

This publication also features the 4th edition featured section showing seven curated GenderFail Archive Project reading lists from “Publishing Now,” a class I taught from 2021-2023 at the School of the Museum of Fine Arts at Tufts University. For this course, I wanted the students to read zines and publications being produced in real-time, so I started to digitize my collection as I acquired specific titles that I felt the students would resonate with. Many of the readings for this course were scanned from my collection of over 2,000 zines, artist books, and art books that make up the GenderFail archive. Since we could not meet in person (due to the pandemic), I spent hours scanning zines and artist books to be used as required readings for the course. Each reading list will accompany a link and QR code to read and engage with the complete scanned copies of all 31 featured artist books, art books, and zines.

The Imperfect Archiving, Archiving as Practice: Queer Bibliographic Explorations, is among my most cherished project I’ve published of the over 125 editions I’ve designed and printed with GenderFail.

Notes on Anti-capitalist Solidarity: An Essay for the Working Class Artist was first commissioned by former Artspeak Director/Curator Bopha Chhay and published as part of their BEACON series.

In the essay, Oakley states:

Why do so many artists, designers, and low-wage workers still embrace this system of exploitation without question? Are we so compromised by the false promise of success that we have become numb to the exploitation we endure for the chance of being in a place to exploit others ourselves? Do we want to be in this position? And if not, what can we do to change this?

BEACON is a series that examines how artists’ commitment to wider social movements informs contemporary artistic practice. It will feature texts by artists whose practices engage with language and visual arts. Former Artspeak Director/Curator Bopha Chhay edited the series.

A text on speaking, listening and being understood made in conversation with iOS speech-to-text software.

An experimental essay on voice, narrative, literature and translation. In this text Daniela tunes into the hums of voices heard within books, to the recollected csitation, to singing with stitched lips.

‘Five Devours’ is a short essay in five parts about need and food as a part of speech, about speech’s relationship to nourishment and hunger; the currency between eating and speaking, expending and consuming.

12 pages
150 x 200mm
risograph printed 
edition of 150

The fourth in a series of publications, featuring writing by graphic design students of EKA GD MA. Typing... includes essays, scripts, translations and stories on a wide range of topics: killing vowels and milling fonts, personal knowledge management, shortcuts, tedious/careful/tiring/joyful typesetting, type of Georgianness, typing in 3rab(izi) and typing in all lowercase.

With contributions by Anna Wittenkamp Rich, Archil Tsereteli, Fa(tima)-Ezzahra El Khammas, João (Juca) Pedro Nogueira, Karthik Palepu, Laura Martens, Linnea Lindgren, Rok Ifko Kranjc.

Designed by Fatima-Ezzahra El Khammas and Laura Martens
Cover by Hanafi Gazali

Guest edited by artist Helen Marten and literary agent Harriet Moore with Matthew Stuart, this volume of the journal considers what it means for a publication to be an allegorical container. A simple box in which to gather multiple things, an economical set of permutations — rational in one sense, yet defiantly flexible to move. Contributors were approached with an open invitation; some explored the multiplicities of containing or containers, while others filled the printed vessel with their own ongoing preoccupations. The following pages perform as envelope, bag, shell, net, fold, alarm, letter and instruction. There are holes to disappear within; smoke to knot and wind; shadows to unfold — a context that takes in and binds, finding new kinships from unforeseen proximities.

THE FIRE FLOWERS AND THE FLOWER LIGHTS UP –
Lucy Mercer
(spine)

WE SHALL GREET THE MOON AGAIN
Walter Price
(front cover)

BACK PAGES OF ALGIERS DIARIES 2018
Lydia Ourahmane
(inside front & inside back cover)

AN INTRODUCTION TO / NOTES ON / INSTRUCTION FOR THE FRONT NOVEL
Eliza Barry Callahan
(pp.1–16)

SATURDAY MORNING
Kathryn Scanlan
(pp.25–29)

KILLDEER
Jason Schwartz
(pp.33–38)

ALARMS AND EXCURSIONS
Rosmarie Waldrop
(pp.45–61)

"THE BATHROOM"
Najwa Barakat
(pp.67–76)

ARMY ROLLS, A CIRCUMSCRIPTION
Roy Claire Potter
(pp.81–91)

CONCHOMANIA
Felix Bernstein
(pp.95–109)

O-POEM
Line-Gry Hørup
(pp.113–129)

THIS MUSCLE
Cally Spooner
(pp.133–153)

STERLING PARK IN THE DARK
Susan Howe
(pp.159–179)

COCONUTTERY
Mathelinda Nabugodi
(pp.183–193)

YOUR SELF CONFIDENT BABY
Aurelia Guo
(pp.197–206)

BIOGRAPHY OF A NET: HOLDING A VOLUME
Daisy Hildyard
(pp.211–225)

A GUIDE TO THE POETRY OF LI HO
Eliot Weinberger
(pp.229–235)

WOMEN SMOKING
Charline von Heyl
(throughout & p.239)

INFRATHIN
Marcel Duchamp
(throughout & p.239)

THE MAZED WORLD
Rachael Allen
(bookmark insert)

UNTITLED
Helen Marten
(back cover)

Written in the course of the year following the publication of Book of Mutter, and inspired by the lectures of Roland Barthes, Anne Carson, and Jorge Luis Borges, Appendix Project collects eleven talks and essays. These surprising and moving performances, underscored by the sleeplessness of the first year of their child’s life, contain their dazzling thinking through the work of On Kawara, Roland Barthes, W.G. Sebald, Bhanu Kapil, Walter Benjamin, Theresa Hak Kyung Cha, Marguerite Duras, Marlene Dumas, Louise Bourgeois, Doris Salcedo, Jenny Holzer, and more.

After diagnosis, the fact was that Austin Gross lived in his home country. He sat on the porch squinting like a potato and it was a comforting thing to imagine: rock-climbing with a blindfold. ‘Can swim, eyes open,’ he jotted and covered his eyes again. Sun, centrifuge, prognosis, bird-listening. The collision shaped genres like tectonic ripples. Windows open, a story while forgetting. ‘I am a memory eater.’
Aras was furloughed from prison that summer. Five years before, she’d missed their movie plan, and the fact was that since then, she lived in her home country. Furlough, Aras wrote, was ‘no-time.’ They investigated the situation together.

Austin Gross is an essayist and collaborator in elliptical orbit. His home discipline is philosophy and language English, on one condition: having left home. Trans-disciplinarity gives us a chance to be hosts and guests.

The Conspiracy of Equals (1796) is often hailed as the first revolution against a revolutionary state. Even if the conspirators were soon found out and put on trial, their ideas of radical equality and liberty shaped future generations of revolutionaries worldwide. An Anarchist Playbook—the first publication in Tenement’s new imprint, No University Press—gathers together many of the key documents from their trial across a myriad forms, with a number of these texts appearing herein in their first English-language translation.

Assembled in the Playbook are the last words of Gracchus Babeuf, the leader of the conspiracy and a radical proponent of the abolition of private property, and of his fellow conspirator Augustin Darthé, as they faced the guillotine. We’ve a letter, written in the popular idiom of the sans-culottes, that urges the common soldier to rebel; the score and lyrics of a street song that names the new class enemy: the wealthy bourgeoisie who have profited from the revolution; a first-time English translation of ‘The Last Judgement of All Kings’—an extraordinary one-act play by Sylvain Maréchal, the unofficial poet of the Conspiracy, that was performed to considerable acclaim in Year II of the Revolution (and that the Workshop is in the process of adapting for contemporary audiences). 

Many of these texts were never published in their own time, and form a part of the testament left behind by Philippe Buonarroti, a leading conspirator who inspired new generations of revolutionaries across Europe over the course of the nineteenth and early twentieth centuries. Among the best known works included is the Manifesto of Equals, long considered a founding text of social, communist and anarchist revolutions. The Playbook presents a translation of the Manifesto alongside other key texts by the conspirators, reconstructing the richness and variety of revolutionary communication that informs the editorship, shape, and scope of this volume.

Explorations of the audio essay as medium and method.

With contributors including Justin Barton, Angus Carlyle, Kodwo Eshun, Steve Goodman, Robin Mackay, Paul Nataraj, and Iain Sinclair, Sonic Faction presents extended lines of thought prompted by two Urbanomic events which explored the ways in which sound and voice can produce new sensory terrains and provoke speculative thought.

Three recent pieces provide the catalyst for a discussion of the potential of the "audio essay" as medium and method, a machine for intensifying listening and unsettling the boundaries between existing forms: documentary, music, ambient sound, audiobook, field recording, radio play….

Kode9's Astro-Darien (2022) is a sonic fiction about simulation, presenting an alternative history of the Scottish Space Programme, haunted by the ghosts of the British Empire. Justin Barton and Mark Fisher's On Vanishing Land (2006) is a dreamlike account of a coastal walk that expands into questions of modernity, capitalism, fiction, and the micropolitics of escape. Robin Mackay's By the North Sea (2021) is a meditation on time, disappearance, and loss as heard through the fictions of Lovecraft, Ccru, and the spectre of Dunwich, the city that vanished beneath the waves.

Alongside photographic documentation of the events and edited transcripts of the artists' discussions, Sonic Faction brings together contributors with diverse perspectives to address the question of the audio essay and to imagine its future.

Contributors
Lawrence Abu Hamdan, Lendl Barcelos, Justin Barton, Ben Borthwick, Angus Carlyle, Matt Colquhoun, Jessica Edwards, Kodwo Eshun, Steve Goodman, Ayesha Hameed, Eleni Ikoniadou, Lawrence Lek, Robin Mackay, Paul Nataraj, Emily Pethick, Iain Sinclair, Shelley Trower

A Hypothesis of Resistance contains five essays on Asynchronicity, Rehearsal, Undetectability, The Present Tense, and Duration. Each attempts to resist the doctrine of "performance," the symptom of a society, stratified by how we perform—economically, socially, digitally. As we become ripe for consumption, caught in an economy of perpetual readiness, basic needs remain unmet and it is increasingly difficult to tell the difference between what is alive and what is dead.

Cally Spooner (born 1983 in Ascot, UK, lives and works in London and Turin) is an artist who exhibits performances that unfold across media—on film, in text, as objects, through sound, and as illustrated in drawings.

Exhibiting performances that unfold across media—on film, in texts, as objects, though sounds, and as illustrated in drawings—Cally Spooner addresses the manners in which specific technological and financial conditions shape and organize life. With artworks that feature olive oil soap, WhatsApp messages, the voice of a business, the sound of a head cold, eroding support structures, a child development theorist, a poisoning, and an oversize graph, Spooner's work crystallizes an absurd contemporary ecosystem in which entities run the risk of managing themselves and one another to death.

What would you risk to know yourself? Which stories are you willing to follow to the bitter end, revise, or, possibly, begin all over? In this collection of five interrelated essays, Lucy Ives explores identity, national fantasy, and history. She examines events and records from her own life―a childhood obsession with My Little Pony, papers and notebooks from college, an unwitting inculcation into the myth of romantic love, and the birth of her son―to excavate larger aspects of the past that have been suppressed or ignored. With bracing insight and extraordinary range, she weaves new stories about herself, her family, our country, and our culture. She connects postmodern irony to eighteenth-century cults, Cold War musicals to a great uncle’s suicide to the settlement of the American West, museum period rooms to the origins of her last name to the Assyrian genocide, and the sci-fi novel The Three-Body Problem to the development of modern obstetrics. Here Ives retrieves shadowy sites of pain and fear and, with her boundless imagination, attentiveness, and wit, transforms them into narratives of repair and possibility.

In April 2024, the Palestinian prisoner and political intellectual Walid Daqqa was killed by the Zionist regime after thirty-eight years in prison. In a sprawling essay about Daqqa's life and writings, the Palestinian writer and organizer Kaleem Hawa theorizes elements of the Palestinian captives’ movement, turning to prisoner exchanges and hunger strikes, the psychoanalytic dimensions of imprisonment, and temporal theories of the prison. Considering the ethnically cleansed town of al-Majdal and Asqalan prison, which was established there as its fulcrum, the essay traces the story of the land and struggle, with Daqqa coming in and out of focus at critical moments in Palestine’s history.

An earlier version of this essay was published in Parapraxis, Palestine Issue (From the River to the Sea) in August 2024.

Kaleem Hawa is a doctoral student in English and Comparative Literature at Columbia University. He is a recipient of a 2023 Arts Writers Grant from The Andy Warhol Foundation for the Visual Arts. He has written about the work of Walid Daqqa, Ghassan Kanafani, Kassem Hawal, and Patricio Guzmán, among others, and has been published in the New York Review of Books, The White Review, The Nation, The Journal of Palestine Studies, and elsewhere.

Ethical, pondering, and wondrous, adrienne maree brown’s Loving Corrections is a collection of love-based adjustments and reframes to grow our movements for liberation while navigating a society deeply fractured by greed, racism, and war. In this landmark book, brown invigorates her influential writing on belonging and accountability into the framework of “loving corrections”; a generative space where rehearsals for the revolution become the everyday norm in relating to one another. 

Filled with practical wisdom on how to be a trustworthy communicator while providing bold visions for a shared future, Loving Corrections can speak to everyone caught in the crossroads of our political challenges and potential. No matter how new to the struggle, or how numerous our failures, brown’s indispensable writing is an invitation to us all. Includes an afterword by Janine de Novais.