rile* is a bookshop and project space for publication and performance. rile* is into poetry, theory, choreography, artist writing and various other text based experiments. rile* organizes performances, meetings, launches, readings... rile* is the base word for silence in Láadan, a feminist constructed language developed by Suzette Haden Elgin in 1982. The language was included in her science fiction Native Tongue series. Láadan contains a number of words that are used to make unambiguous statements that include how one feels about what one is saying. According to Elgin, this is designed to counter language's limitations to those who are forced to respond I know I said that, but I meant this.
Our bookshop is open on Wednesday and Thursday from 11h to 17h, and from Friday to Sunday from 11h to 18.30h.
If you are interested to stock with us, get in touch, we are open for conversation and new friendships.
Hosted by Chloe Chignell & Sven Dehens
contact : firstname.lastname@example.org
Supported by VGC-
Site by Sven Dehens
Fascination brings together an early memoir, 'Bedrooms Have Windows' (1989) and a previously unpublished prose work, 'Bachelors Get Lonely', by the poet and novelist Kevin Killian, one of the founding members of the New Narrative movement. The two together depict the author's early years struggling to become a writer in the sexed-up, boozy, drug-ridden world of Long Island's North Shore in the 1970s. It concludes with Triangles in the Sand, a new, previously unpublished memoir of Killian's brief affair in the 1970s with the composer Arthur Russell. Fascination offers a moving and often funny view of the loneliness and desire that defined gay life of that era-a time in which Richard Nixon's resignation intersected with David Bowie's 'Diamond Dogs'-from one of the leading voices in experimental gay writing of the past thirty years. "Move along the velvet rope," Killian writes in 'Bedrooms Have Windows', "run your shaky fingers past the lacquered Keith Haring graffito: 'You did not live in our time! Be Sorry!'"
Kevin Killian's Fascination comes to us with delay, yet arrives, thankfully, as though preserved within the flaps of an unsent, sealed, and searing correspondence, consummate and irreverent, having wasted no time. With their uncompromising wit and harnessed consciousness, Killian's memoirs propose that the project of remembrance, though dotted with loss, is also one of relentless recall for relentless pleasure. Not all of Killian's memories are his, but through him they become yours; others are rewound and replayed. Killian's invitation, though we wouldn't dare to rebuff it: "Remember me!"
-- Rachel Valinsky
Kevin Killian was a San Francisco-based poet, novelist, playwright, and art writer. Recent books include the poetry collections Tony Greene Era and Tweaky Village. He is the coauthor of Poet Be Like God: Jack Spicer and the San Francisco Renaissance. With Dodie Bellamy, he coedited Writers Who Love Too Much: New Narrative Writing, 1977-1997.
First published in 1995, this award-winning novel is a bold, achingly honest story set in the "rat bohemia" of New York City, whose huddled masses include gay men and lesbians abandoned by their families and forced to find new bonds with one another in the wake of this loss. Navigating the currents of the city are three friends: Rita Mae, a rat exterminator; Killer, a career plant-waterer; and David, an HIV-positive writer. Together, they seek new ways to be truthful and honest about their lives as others around them avert their glances. Alternately elegiac, defiant, and funny, Rat Bohemia is an expansive novel about how one can cope with loss and heal the wounds of the past by reinventing oneself in the city.
Rat Bohemia won the Ferro-Grumley Award for Lesbian Fiction and was named one of the "100 Best Gay and Lesbian Novels of All Time" by the Publishing Triangle.
Sarah Schulman is the author of eleven previous books, including eight novels, the latest being The Child (2006). As a journalist, her essays have appeared in The New York Times, The Nation, and Interview. She has won a Guggenheim Fellowship and two American Library Association Gay & Lesbian Book Awards. She lives in New York.
A body of essays and visual contributions by radical theorists around the prosthesis and the "augmented body" issues.
"We all need means of supplementing our natural capabilities, since nature is indifferent, inhuman (extra-human), and inclement; we are born naked and with insufficient armour." — Le Corbusier
Once confined to the narrow circle of "medicalizing" practices, the prosthesis finally colonized our imagination thanks to the promise of an "augmented body" capable of undermining traditional dichotomies such as artificial vs. natural and organic vs. non-organic. But what are their speculative, theoretical and political repercussions? In this selection of original papers, the authors of Insufficient Armour reflect on the subject from their own peculiar perspectives, each of them contributing essays, political-philosophical analysis and theory fiction experiments.
Texts and contributions by Luigi Alberto Cippini, Matt Colquhoun, Helen Hester, Simon Sellars.
Phylactère is born from a deep desire to transcribe performance, with authentic, subjective and spontaneous point of views; giving voice to amateurs, artists, designers and thinkers alike. Phylactère is published once a year. Each issue takes an onomatopoeia as its theme. Phylactère publishes transitional writings and in turn welcomes the discrepancies between a script, the performed action, to its translation; with an extreme and adventurous attention given to contexts, gestures, emotions and spaces put at stake during this transcription.
Phylactère is digging into post-performance, allowing those who weren’t present to get a reading of it and experience it from another perspective. This first issue has the theme of the French onomatopoeia Patati Patata: an inexhaustible and endless chatter, long or short discourse, gossip, word of mouth, whispers… Patati Patata or «Yada Yada Yada» in English, is a too much of speech, an endless story, an et cetera expressed out loud. Phylactère is a journal composed of multiple voices, initiated by Roxanne Maillet and Auriane Preud’homme, produced by RondPoint Projects and published by Immixtion Books.
Contributors : Alexandru Balgiu, Anna Tuccio, Anne Marchis Mouren, ArianE Sirota, Barbara Quintin & Liv Schulman, Barthélémy Cardonne, Camille Soulat, Dorota Gaweda & Egle Kulbokaite, etaïnn zwer, Ilke Gers, Josèfa Ntjam, Laure Vigna, Louise Siffert, Lou-Maria Le Brusq, Maria Barnas, Marouchka Payen, Martha Salimbeni, officeabc, Philippe Goguely, Sarah Korzec, Simili Gum, Sven Dehens et Uta Eisenreich.
Texts in English and French
Graphic Design : Auriane Preud'homme et Roxanne Maillet
This first publication brings together texts, documentation, scripts and reference material relating to the body of work Jones started in 2013. Marking a new cycle in his work the book makes a claim about the status of performance in the context of his wider practice and the function of documentation and image regimes in our current times.
The book is claimed to be a form of ‘paraperformance’, meaning a collection of materials that have circulated alongside or chosen to represent the live moments created in his work over a five year period. It represents seven distinct works of installation, sculpture, and performance by Jones including a new work that is made specifically for the pages of this book.
This collection of materials touches on diverse sources and references including the Radical Faerie movement, the Spanish magazine ‘Party’, Liberace’s libel trials, images of uncontacted Amazonian tribes, the political writing of Jean Genet and an early performance work of Vito Acconci to name but a few.
The thread amongst all of the works included in this book is the subtle interweaving of discourses around theatre, performance, the law, representation and politics and the oscillation between urban space, the public sphere and a queer wilderness. More widely the book uses the specificities within Jones’ research to consider the role that performance could play within the art field and, by extension, how documentation and representation of our everyday lives impacts on how we understand our world at large.
This book is part of the series www.anywhereoutofthebook.com series
Queer Ancient Ways advocates a profound unlearning of colonial/modern categories as a pathway to the discovery of new forms and theories of queerness in the most ancient of sources. In this radically unconventional work, Zairong Xiang investigates scholarly receptions of mythological figures in Babylonian and Nahua creation myths, exposing the ways they have consistently been gendered as feminine in a manner that is not supported, and in some cases actively discouraged, by the texts themselves.
An exercise in decolonial learning-to-learn from non-Western and non-modern cosmologies, Xiang's work uncovers a rich queer imaginary that had been all-but-lost to modern thought, in the process critically revealing the operations of modern/colonial systems of gender/sexuality and knowledge-formation that have functioned, from the Conquista de America in the sixteenth century to the present, to keep these systems in obscurity.
At the heart of Xiang's argument is an account of the way the unfounded feminization of figures such as the Babylonian (co)creatrix Tiamat, and the Nahua creator-figures Tlaltecuhtli and Coatlicue, is complicit with their monstrification. This complicity tells us less about the mythologies themselves than about the dualistic system of gender and sexuality within which they have been studied, underpinned by a consistent tendency in modern/colonial thought to insist on unbridgeable categorical differences.
By contextualizing these deities in their respective mythological, linguistic, and cultural environments, through a unique combination of methodologies and critical traditions in English, Spanish, French, Chinese, and Nahuatl, Xiang departs from the over-reliance of much contemporary queer theory on European (post)modern thought. Much more than a queering of the non-Western and non-modern, Queer Ancient Ways thus constitutes a decolonial and transdisciplinary engagement with ancient cosmologies and ways of thought which are in the process themselves revealed as theoretical sources of and for the queer imagination.
How do you trace death? What do you make of the useless objects left behind? Conjuring Cage, Stein, and Francesca Woodman, British poet Sophie Robinson documents the detritus of sudden loss. Layering word and image, object and subject, the said with the unsayable, A is as Caroline Bergvall writes, "[a] work of mourning. Angry, torn, hardly daring to remember", a textual performance of "love that dares to speak as queer."
A is published as part of the TrenchArt: Tracer Series, with a foreword by Caroline Bergvall, an afterword by Diane Ward, and collaborative visual art by Ken Erhlich and Susan Simpson.
Concurrently: ode, elegy, satyre, Boeing Nº 737-800 in F♯m awakes and takes off, lands and falls asleep, in between cold sweats and time zones. Triangulating the distance from ground to body, moving though still, to sun, blinding though eyeless, amidst a text searching for sense in an economy of simulations, value suspended 38000 feet above the ground.
The anatomy of the world’s most popular commercial airplane serves as test tube to rehearse, under the common denominator of a possible fall, a motley set of anxieties, crossing borders, with and without passport. Mirror-play, annotated between the internal voice of a passenger, by the window, their dialogue with the Sun and a chorus of various interjections, from cockpit to exhaust pipe.
The definitive text of Atalanta (Acts of God), which has been performed internationally since the 1980s, includes the entire libretto and an afterword by Ashley, compiled and edited by Sumner Carnahan.
Robert Ashley is a prolific composer and writer, best known for his work in new forms of opera: epic prose poems he sets to music, which have been awarded, commissioned, and performed internationally for over forty-five years. In the 1960s, Ashley organized Ann Arbor's legendary ONCE Festival and directed the ONCE Group. During the 1970s, he directed the Center for Contemporary Music at Mills College, toured with the Sonic Arts Union, and wrote and produced Perfect Lives, an opera for television widely praised as the precursor of music-television.
Hannah Weiner's Open House beckons us into a realm of poetry that bends consciousness in order to open the doors of perception. Weiner is one of the great American linguistic inventors of the last thirty years of the 20th century. She created an alchemical poetry that transforms the materials of everyday life into a dimension beyond sensory perception. The pieces collected here are as much conceptual art as sprung prose, experimental mysticism as social realism, autobiography as egoless alyric. Patrick Durgin has brought together touchstone works, some familiar and some never before published. Hannah Weiner's Open House provides the only single volume introduction to the full range of Weiner's vibrant, enthralling, and unique contribution to the poetry of the Americas. (Charles Bernstein)
Hannah Weiner's influence extends from the sixties New York avant-garde, where she was part of an unprecedented confluence of poets, performance and visual artists including Phillip Glass, Andy Warhol, Carolee Schneeman, John Perrault, David Antin, and Bernadette Mayer. Like fellow-traveler Jackson Mac Low, she became an important part of the Language movement of the 70s and 80s, and her influence can be seen today in the so-called New Narrative work stemming from the San Francisco Bay Area.
The story of a dangerous man seduced by peril, Querelle deals in a startling way with the Dostoyevskian theme of murder as an act of total liberation.
It is set in the midst of the port town of Brest, where sailors and the sea are associated with murder. Georges Querelle, its protagonist, is a bisexual thief, prostitute and serial killer who manipulates and kills his lovers for thrills and profit. The novel formed the basis for Querelle (1982), Rainer Werner Fassbinder's last film.
In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives.
Whether viewed psychoanalytically, institutionally, or ideologically, love is deemed always an outcome of fantasy. Without fantasy, there would be no love. Desire/Love takes us on a tour of all of the things that sentence might mean.
A collection of early and not-so-early work by the mistress of gut-level fiction-making.
You can say I write stories with sex and violence and therefore my writing isn't worth considering because it uses content much less lots of content. Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'...
Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula.
This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever gave over two years: a chatty, intriguing and delightfully self-deprecating conversation with Semiotext(e) editor Sylvere Lotringer--which is trippy enough in itself as Lotringer, besides being a real person, has appeared as a character in Acker's fiction. And last, but not least, is the full transcript of the decision reached by West Germany's Federal Inspection Office for Publications Harmful to Minors in which Acker's work was judged to be not only youth-threatening but also dangerous to adults, and subsequently banned.
Acker is the sort of the writer that should be read first at 16, so that you can spend the rest of your life trying to figure her out; she confuses, infuriates, perplexes and then all of a sudden the writing seems to be in your bloodstream, like some kind of benign virus. She's definitely not for the easily offended--but then, there are worse things in life than being offended. Such as the things that Acker writes about...
Kathy Acker was a novelist, essayist and performance artist whose books include Blood and Guts in High School, The Childlike Life of the Black Tarantula, Empire of the Senseless, In Memoriam to Identity, Don Quixote, My Mother: Demonology, and her last novel, Pussy King of the Pirates. Born and raised on New York's Upper East Side, she died of breast cancer in Tijuana, Mexico, in 1997.
A Hypocritical Reader is your emancipation, reader. Want to lose yourself in your favourite genre? This book is for you. Want to question the influence of modernist experimentalism on the short story form? This book is also for you. Want to explore that unspeakable Barthesian dictum? Okay? You want to psychoanalyse the (female) writer? Hmmm. Follow the book's emotional arc, or pick your own path by choosing which pages to turn to. Hell, you can even clip out the individual words and collage your way into exciting new worlds. Just don't tell the author. This book is Calvino, with an attitude.
Rosie Snajdr is an author, editor, and academic. Her work has appeared in The Cambridge Literary Review, Liberating the Canon: An Anthology of Innovative Literature (Dostoyevsky Wannabe), and is forthcoming in TOTAL CANT (Cant Books).
A phenomenology of voice and hearing.
Contemplative, intricate, here the philosopher Vivian Darroch-Lozowski develops a phenomenology of hearing. Where theorizing is a present-tense action. Where a landscape teaches waiting. Where to be in a body is to gesture to another. Where subjectivity is the transformation of language. Where attention releases nascent energy. Where to hear is also to transform. Where myth is a gate. A close attending to this text, which is also a unicorn, will delicately open the reader's time-sense. —Lisa Robertson, author of Cinema of the Present, The Weather, Nilling, and The Baudelaire Fractal.
Vivian Darroch-Lozowski is Professor Emerita of the University of Toronto. Her writings and visual works cover different genres: scholarly, literary, creative non-fiction, artist books, painting/drawing and film. Her books include Notebook of Stone, Antarctica Body, Blue Cloud, Surface of the Living World, and The Uncoded World. Her recent project was returning 160 acres of agricultural land to natural prairie with wetlands. She lives in Moose Jaw, Treaty 4 Territory, Saskatchewan (Canada).
Published Nov 2020