Books

A memoir by Kawasaki-based writer and musician Kazuki Tomokawa, Try Saying You're Alive! offers a semi-fictionalized account of the vibrant Tokyo underground that he has been at the center of since the 1970s.

Recounting sixty years in the life of this "screaming philosopher." Try Saying You're Alive! traces Tomokawa's beginnings in the Akita Prefecture as a "runaway toddler," his adolescent basketball career, and his wanderings as a day laborer, gambler, painter, actor, drinker, and avant-garde folk guitarist. Anecdotes of figures such as novelist Kenji Nakagami, poet Shuji Terayama, actor Tôru Yuri, directors Takashi Miike and Nagisa Ōshima, and musicians Ryudo Uzaki and Kan Mikami animate this impassioned memoir by a legendary musician. This is the first English translation of Tomokawa's writing.

Kazuki Tomokawa (born Tenji Nozoki in 1950 in the Akita Prefecture area of northern Japan) is a prolific Japanese musician, singer-songwriter, artist and poet, one of the pioneers of acid-folk, active on the Japanese music scene since the beginning of the 1970s, companion of musicians such as Kan Mikami, Keiji Haino or Motoharu Yoshizawa. He has recorded more than thirty albums.

"I'm so female I'm subversive." Valerie Solanas.

This volume presents two rarities of Valerie Solanas. The legendary play "Up Your Ass, or, From the Cradle to the Boat, or, The Big Suck, or, Up From the Slime" (1965/1967). And the story "A Young Girl's Primer on How to Attain to the Leisure Class" (1966).

Readers of SCUM Manifesto! Behold as the literary heritage of Valerie Solanas redoubles before your eyes.

Sex Ecologies explores pleasure, affect, and the powers of the erotic in the human and more-than-human worlds. Arguing for the positive and constructive role of sex in ecology and art practice, these texts and artistic research projects attempt nothing short of reclaiming the sexual from Western erotophobia and heteronormative narratives of nature and reproduction. The artists and writers set out to examine queer ecology through the lens of environmental humanities, investigating the fluid boundaries between bodies (both human and nonhuman), between binary conceptions of nature as separate from culture, and between disciplines.

In newly commissioned texts from such writers as Mel Y. Chen and Jack Halberstam and a selection of influential essays—including an annotated version of Audre Lorde's “The Uses of the Erotic: The Erotic as Power”—as well as images and sketches from works in progress by a diverse group of artists, Sex Ecologiescombines insights from the fields of art, environmental humanities, ecofeminism, gender studies, science, technology, political science, and indigenous studies.

Sex Ecologies, which accompanies an exhibition of the same name at Kunsthall Trondheim, emerges from an arts-driven research project collaboratively developed between the art center and the Seed Box environmental humanities collaboratory. Conceived not as a result but as a seed arising from this transdisciplinary fertilization, the volume presents a case for the role of sex in environmental and social justice.

Contributors:

Katja Aglert,Tarsh Bates, adrienne maree brown, Mel Y. Chen, Pauline Doutreluingne, Léuli Eshrāghi, Jes Fan, Ibrahim Fazlic, Jack Halberstam, niilas helander, Stefanie Hessler, Jenny Hval, Anne Duk Hee Jordan, Jessie Kleemann, Audre Lorde, Nina Lykke, Montserrat Madariaga-Caro, Camila Marambio, Astrida Neimanis, Pedro Neves Marques, Okwui Okpokwasili, Marie Helene Pereira, Margrethe Pettersen, Laure Prouvost, Filipa Ramos, Catriona Sandilands, Sami Schalk, Serubiri Moses, Leanne Betasamosake Simpson, Annie Sprinkle and Beth Stephens, Kim TallBear, Anna Tje, Alberta Whittle, Victoria Wibeck, Elvia Wilk

Copublished with Kunsthall Trondheim (Norway) and the Seed Box (Sweden)

Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz's brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: "Let me call my anxiety, desire, then. / Let me call it, a garden." In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.  

Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: "I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible." Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY 

FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY 

In Just Us, Claudia Rankine invites us into a necessary conversation about Whiteness in America. What would it take for us to breach the silence, guilt, and violence that arise from addressing Whiteness for what it is? What are the consequences if we keep avoiding this conversation? What might it look like if we step into it? "I learned early that being right pales next to staying in the room," she writes. 

This brilliant assembly of essays, poems, documents, and images disrupts the false comfort of our culture's liminal and private spaces—the airport, the theater, the dinner party, the voting booth—where neutrality and politeness deflect true engagement in our shared problems. Rankine makes unprecedented art out of the actual voices and rebuttals of others: White men responding to, and with, their White male privilege; a friend clarifying her unexpected behavior at a play; and women on the street expressing the political currency of dyeing their hair blond, all running alongside fact-checked notes and commentary that complement Rankine's own text, complicating notions of authority and who gets the last word. Funny, vulnerable, and prescient, Just Us is Rankine's most intimate and urgent book, a crucial call to challenge our vexed reality.

Claudia Rankine is a poet, an essayist, and a playwright. Just Us completes her groundbreaking trilogy, following Don't Let Me Be Lonely and Citizen. She is a MacArthur Fellow and teaches at New York University.

Published for the first time in 1953, Playboy was not only the first pornographic popular magazine in America; it also came to embody an entirely new lifestyle through the construction of a series of utopian multimedia spaces — from the Playboy Mansion and fictional Playboy's Penthouse of 1959 to the Playboy Clubs and hotels appearing around the world in the 1960s. Simultaneously, the invention of the contraceptive pill provided access to a biochemical technique that separated (hetero) sexuality and reproduction.

Addressing these concurrent cultural shifts, Paul Preciado investigates the strategic relationships between space, gender, and sexuality in popular sites related to the production and consumption of pornography that have tended to reside at the margins of traditional histories of architecture: bachelor pads, multimedia rotating beds, and design objects, among others.  

Combining historical perspectives with contemporary critical theory, gender and queer theory, porn studies, the history of technology, and a range of primary transdisciplinary sources — treatises on sexuality, medical and pharmaceutical handbooks, architecture journals, erotic magazines, building manuals, and novels — Pornotopia explores the use of architecture as a biopolitical technique for governing sexual relations and the production of gender in the postwar United States.

Everyone needs to love and be loved — even men. But to know love, men must be able to look at the ways that patriarchal culture keeps them from knowing themselves, from being in touch with their feelings, from loving. In The Will to Change, bell hooks gets to the heart of the matter and shows men how to express the emotions that are a fundamental part of who they are — whatever their age, marital status, ethnicity, or sexual orientation. With trademark candor and fierce intelligence, hooks addresses the most common concerns of men, such as fear of intimacy and loss of their patriarchal place in society, in new and challenging ways. She believes men can find the way to spiritual unity by getting back in touch with the emotionally open part of themselves — and lay claim to the rich and rewarding inner lives that have historically been the exclusive province of women. A brave and astonishing work, The Will to Change is designed to help men reclaim the best part of themselves.

bell hooks was a cultural critic, a feminist theorist, and the renowned author of more than twenty books, including Rock My Soul, The Will to Change, Sisters of the Yam, and When Angels Speak of Love. A charismatic speaker, she divided her time between teaching, writing, and lecturing around the world. A resident of Kentucky and New York City, she passed away in 2021.

Grand and minute, elegiac and hilarious, Lynne Tillman expands the possibilities of the American novel in this dazzling read about a former historian ruminating on her own life and the lives of others—named a best book of the century by Vulture. 

In the hypnotic, masterful American Genius, A Comedy, a former historian spending time in a residential home, mental institute, artist's colony, or sanitarium, is spinning tales of her life and ruminating on her many and varied preoccupations: chair design, textiles, pet deaths, family trauma, a lost brother, the Manson family, the Zulu alphabet, loneliness, memory, and sensitive skin—and what "sensitivity" means in our culture and society.  

Showing what might happen if Jane Austen were writing in 21st-century America, Tillman fashions a microcosm of American democracy: a scholarly colony functioning like Melville's Pequod. All this is folded into the narrator's memories and emotional life, culminating in a seance that may offer escape and transcendence—or perhaps nothing at all. This new edition of a contemporary classic features an introduction by novelist Lucy Ives.

Lynne Tillman is a novelist, short story writer, and cultural critic. Her novels are Haunted Houses; Motion Sickness; Cast in Doubt; No Lease on Life, a finalist for the National Book Critics Circle Award; American Genius, A Comedy; and Men and Apparitions. Her nonfiction books include The Velvet Years: Warhol's Factory 1965-1967, with photographs by Stephen Shore; Bookstore: The Life and Times of Jeannette Watson and Books & Co.; and What Would Lynne Tillman Do?, a finalist for the National Book Critics Circle Award in Criticism. Her most recent short story collections are Someday This Will Be Funny and The Complete Madame Realism. She is the recipient of a Guggenheim Foundation Fellowship and an Andy Warhol/Creative Capital Arts Writing Fellowship. Tillman is Professor/Writer-in-Residence in the Department of English at The University of Albany and teaches at the School of Visual Arts' Art Criticism and Writing MFA Program in New York. She lives in Manhattan with bass player David Hofstra.

A philosophical tour de force melding astrophysics and grief by the American maestra of the prose poem.

"If memory serves, it was five years ago that yours began to refuse," Rosmarie Waldrop writes to her husband in The Nick of Time. "Does it feel like crossing from an open field into the woods, the sunlight suddenly switched off? Or like a roof without edge or frame, pushed sideways in time?" Ten years in the making, Waldrop's phenomenally beautiful new collection explores the felt nature of existence as well as gravity and velocity, the second hemisphere of time, mortality and aging, language and immigration, a Chinese primer, the artist Hannah Höch, and dwarf stars. Of one sequence, "White Is a Color," first published as a chapbook, the Irish poet Billy Mills wrote, "In what must be less than 1000 words, Waldrop says more about the human condition and how we explore it through words than most of us would manage in a thousand pages." Love blooms in the cut, in the gap, in the nick between memory and thought, sentence and experience. Like the late work of Cézanne, Waldrop's art has found a new way of seeing and thinking that "vibrates on multiple registers through endless, restless exploration" (citation for the Los Angeles Times Book Prize).

Stitching together girlhood memories with the finest threads of innocence, feminist intellectual bell hooks presents a powerfully intimate account of growing up in the South.

"With the emotion of poetry, the narrative of a novel, and the truth of experience, bell hooks weaves a girlhood memoir you won't be able to put down—or forget. Bone Black takes us into the cave of self-creation."— Gloria Steinem 

A memoir of ideas and perceptions, Bone Black: Memories of Girlhood shows the unfolding of female creativity and one strong-spirited child's journey toward becoming a writer. She learns early on the roles women and men play in society, as well as the emotional vulnerability of children. She sheds new light on a society that beholds the joys of marriage for men and condemns anything more than silence for women. In this world, too, black is a woman's color—worn when earned—daughters and daddies are strangers under the same roof, and crying children are often given something to cry about. hooks finds comfort in solitude, good company in books. She also discovers, in the motionless body of misunderstanding, that writing is her most vital breath.

A nuanced, feminist, and deeply personal take on beauty culture and YouTube consumerism, in the tradition of Maggie Nelson's Bluets.

As Daphné B. obsessively watches YouTube makeup tutorials and haunts Sephora's website, she's increasingly troubled by the ways in which this obsession contradicts her anti-capitalist and intersectional feminist politics. In this poetic treatise, she rejects the false binaries of traditional beauty standards and delves into the celebrities and influencers, from Kylie to Grimes, and the poets and philosophers, from Anne Boyer to Audre Lorde, who have shaped the reflection she sees in the mirror. At once confessional and essayistic, Made-Upis a meditation on the makeup that colours, that obscures, that highlights who we are and who we wish we could be.

The original French-language edition was a cult hit in Quebec. Translated by Alex Manley—like Daphné, a Montreal poet and essayist—the book's English-language text crackles with life, retaining the flair and verve of the original, and ensuring that a book on beauty is no less beautiful than its subject matter.

Published 2021.

Challenges the ableism of fairy tales and offers new ways to celebrate the magic of all bodies. In fairy tales, happy endings are the norm - as long as you're beautiful and walk on two legs. After all, the ogre never gets the princess. And since fairy tales are the foundational myths of our culture, how can a girl with a disability ever think she'll have a happy ending? By examining the ways that fairy tales have shaped our expectations of disability, Disfigured will point the way toward a new world where disability is no longer a punishment or impediment but operates, instead, as a way of centering a protagonist and helping them to cement their own place in a story, and from there, the world.

Through the book, Leduc ruminates on the connections we make between fairy tale archetypes - the beautiful princess, the glass slipper, the maiden with long hair lost in the tower - and tries to make sense of them through a twenty-first-century disablist lens. From examinations of disability in tales from the Brothers Grimm and Hans Christian Andersen through to modern interpretations ranging from Disney to Angela Carter, and the fight for disabled representation in today's media, Leduc connects the fight for disability justice to the growth of modern, magical stories, and argues for increased awareness and acceptance of that which is other - helping us to see and celebrate the magic inherent in different bodies.

Amanda Leduc's essays and stories have appeared in publications across Canada, the US, and the UK. She is the author of the novels The Miracles of Ordinary Men and the forthcoming The Centaur's Wife . She has cerebral palsy and lives in Hamilton, Ontario, where she works as the Communications Coordinator for the Festival of Literary Diversity (FOLD), Canada's first festival for diverse authors and stories.

Essays on the contemporary continuum of incarceration: the biopolitics of juvenile delinquency, predatory policing, the political economy of fees and fines, and algorithmic policing.

What we see happening in Ferguson and other cities around the country is not the creation of livable spaces, but the creation of living hells. When people are trapped in a cycle of debt it also can affect their subjectivity and how they temporally inhabit the world by making it difficult for them to imagine and plan for the future. What psychic toll does this have on residents? How does it feel to be routinely dehumanized and exploited by the police?

In this collection of essays in Semiotext(e)'s Intervention series, Jackie Wang examines the contemporary incarceration techniques that have emerged since the 1990s. The essays illustrate various aspects of the carceral continuum, including the biopolitics of juvenile delinquency, predatory policing, the political economy of fees and fines, cybernetic governance, and algorithmic policing. Included in this volume is Wang's influential critique of liberal anti-racist politics, "Against Innocence," as well as essays on RoboCop, techno-policing, and the aesthetic problem of making invisible forms of power legible.

Wang shows that the new racial capitalism begins with parasitic governance and predatory lending that extends credit only to dispossess later. Predatory lending has a decidedly spatial character and exists in many forms, including subprime mortgage loans, student loans for sham for-profit colleges, car loans, rent-to-own scams, payday loans, and bail bond loans. Parasitic governance, Wang argues, operates through five primary techniques: financial states of exception, automation, extraction and looting, confinement, and gratuitous violence. While these techniques of governance often involve physical confinement and the state-sanctioned execution of black Americans, new carceral modes have blurred the distinction between the inside and outside of prison. As technologies of control are perfected, carcerality tends to bleed into society.

A triptych of wild, lyric love poems that are, at heart, an ode to Arkansas.

Set among blue Ozark creeks, hoods of trucks, and changing constellations, Cody-Rose Clevidence's poems call up embodied sensations as they arise, with love and anguish, in a specific place. Navigating between senses and the sensed world, in lyric, lushness and density, Clevidence constructs an intricate and playful poetics both experimental and emotive to investigate the interplay between the vivid sensations of the body and the viscerally surrounding world. 

Cody-Rose Clevidence is the author of BEAST FEAST and Flung/Throne (Ahsahta) as well as Listen My Friend, This is the Dream I Dreamed Last Night (2021, Song Cave) and Aux Arc / Trypt Ich, (2021, Nightboat) and several handsome chapbooks. They live in the Arkansas Ozarks with their assorted animals named after other animals.

Published Nov, 2021.

Worms #4 looks at psychogeography and the Situationists from a non-male perspective. Taking flâneuserie and the creative benefits of a good walk as its starting point, the issue features conversations with Eileen Myles, Alison Bechdel, Lauren Elkin, Tilly Lawless, Mckenzie Wark, Therese Estacion and Carmen Winant. 2021 was a fraught year for walking; the pandemic restricted our right to movement, while the murders of women walking in London led us to ask the question: how can the act of walking the streets spark political conversation?

Also included with this issue is an affirmation booklet in collaboration with @somuchluvindisclub

Worms is a biannual literary style magazine that celebrates female and non-binary writer culture.

‘If you’re reading this, you are a worm. We’re all worms, and in the end, we’re going to be eaten by them. As a (book)worm, you will fertilize your mind with glorious words…’

Founded in 2019 by Clem Macleod during her degree at Central Saint Martins, Worms began with a mad, spiralling obsession with the late Kathy Acker.

In her debut cookbook, acclaimed chef Angela Dimayuga shares her passion for Filipino food with home cooks.

Filipinx offers 100 deeply personal recipes, many of them dishes that define home for Angela Dimayuga and the more than four million people of Filipino descent in the United States. The book tells the story of how Dimayuga grew up in an immigrant family in northern California, trained in restaurant kitchens in New York City, learning to make everything from bistro fare to Asian-American cuisine, then returned to her roots, discovering in her family's home cooking the same intense attention to detail and technique she'd found in fine dining.

In this book, Dimayuga puts a fresh spin on classics: adobo, perhaps the Filipino dish best known outside the Philippines, is traditionally built on a trinity of soy sauce, vinegar, and garlic, all pantry staples, but add coconut milk, vinegar, and oil, and it turns lush and silky; ribeye steaks bring extra richness to bistek, gilded with butter and a bright splash of lemon and orange juice. These are the punches of flavor and inspired recipes that home cooks have been longing for.

A modern, welcoming resource for this essential cuisine, Filipinx shares exciting and approachable recipes everyone will wholeheartedly embrace in their own kitchens.

In Pink Moon, artist Marcel Dzama (b.1974) presents a raft of new works inspired by travelling through Mexico and Morocco which touch on the wonder that travel and the strange immersion in cultures aside from one’s own can so often engender. Taking visual cues from the evocative textures and colours around him, Dzama successfully captures the spirit of place, while communicating something essentially human in the experience of those places.

Coming at a time of isolation, of stasis for so many, this book engages the imagination in a broad, borderless project, allowing the viewer access to the thrill of discovery and the excitement of the new. Since rising to prominence in the late 1990s, Marcel Dzama has developed an immediately recognizable visual language that investigates human action and motivation, as well as the blurred relationship between the real and the subconscious. With an introduction by Duro Olowu and interview by Craig Taylor.

108 p, ills colour & bw, 22 x 30 cm, pb, English

One of Matt Mullican's central and most consequential inventions, the so-called “Rubbings,” are a kind of “frottages,” a technique the artist uses to produce specific pictures. The book presents a catalogue of the Rubbings on canvas from 1984 to 2015. It comprises around 500 works, documented by images and catalogue entries (the book also contains an essay by Dieter Schwarz).

From the beginning of his career, Mullican looked for pictures that would not be paintings; thus, he used banners, the traditional carriers of signs, posters, and, in 1984, he realized his first Rubbing. He used a cardboard plate on which the canvas was placed; by rubbing with an oil stick the cardboard reliefs, forms became visible on the canvas. This way, Mullican was able to transfer complex representations onto canvas; the result is a picture of something that is not present, it is a form of copy. The cardboard plates may be used for other works and so the imagery can reappear in different configurations. Each Rubbing is a single work and at the same time a reproduction, like a print, part of a sequence which contains picture elements from different sources.

Following the Rubbings from 1984 to recent times, it becomes visible that they represent the motives and themes the artist worked with over the years. The sequence of the Rubbings appears therefore like a diary of Mullican's work.
Published on the occasion of the exhibition “Nothing Should Exist” at Kunstmuseum Winterthur, Switzerland, from June 11 to October 16, 2016.

Working in the fields of performance, installation, digital technology and sculpture, Matt Mullican (born 1951 in Santa Monica, lives an works in New York) is seeking to develop a cosmological model based on a personal vocabulary combining the formal and the symbolic. Hypnosis and cartography are his principal modes of operation. He explores functional sign systems of his own devising through activities under hypnosis, in a permanent oscillation between the real and its schematization, between fiction and its physical reality.

Edited by Dieter Schwarz.
Text by Dieter Schwarz.
 
published in June 2016

This artist's book is the book-form of a work by Matt Mullican, "The Meaning of Things (who feels the most pain?)" (2014), consisting of 676 collages and texts on sheets of standard printing paper.

At the approximate center of each collage is a small image that appears to be a printout of an image procured from the Internet. Around the images are hand-drawn, quasi-calligraphic marks (in black only), curved, giving the impression of an "organic" form in the manner of ornate, rococo frames. The series develops a narrative of interests, practices and collective representations that suggest and disavow each other. Mullican deftly challenges this simple to-and-froing of "virtual" and "real" by suspending the idea that only through the material/physical printing out of the digital images, the content of the images is "restored" back into the "real"—to grasp the "meaning of things" comes at the price of "feeling the most pain".

Working in the fields of performance, installation, digital technology and sculpture, Matt Mullican (born 1951 in Santa Monica, lives an works in New York) is seeking to develop a cosmological model based on a personal vocabulary combining the formal and the symbolic. Hypnosis and cartography are his principal modes of operation. He explores functional sign systems of his own devising through activities under hypnosis, in a permanent oscillation between the real and its schematization, between fiction and its physical reality.

This long overdue anthology of New Narrative includes both classic New Narrative texts and rare supplementary materials, allowing the movement fueled by punk, pop, porn, French theory, and social struggle to bound back to life, ripe with dramatic propulsion, to form a new map of late 20th century creative rebellion.

"Gossipy and uninhibited, its breath is hot in your ear. It wants to tell you everything, and it wants you to overshare back." — M. Milks

"One of New Narrative's all-time best jokes is about the movement itself. It's the parodic motto that Bellamy formulates in Academonia for New Narrative "at its worst" "I have sex and I'm smarter than you." But "sex without fantasy," Camille Roy posits, "is nothing." The pieces compiled in Writers Who Love Too Much don't restrict fantasy. They use, as Boone says, eros, rather than facts, as the matter of narrative. Sex and fantasy are for New Narrative the stuff of ordinary life." — Jean-Thomas Trembla

Contributors include: Steve Abbott, Kathy Acker, Michael Amnasan, Roberto Bedoya, Dodie Bellamy, Bruce Benderson, Charles Bernstein, Nayland Blake, Bruce Boone, Lawrence Braithwaite, Rebecca Brown, Kathe Burkhart, Marsha Campbell, Dennis Cooper, Sam D'Allesandro, Gabrielle Daniels, Leslie Dick, Cecilia Dougherty, Bob Flanagan, Robert Glück, Judy Grahn, Brad Gooch, Carla Harryman, Richard Hawkins, Ishmael Houston-Jones, Gary Indiana, Edith A. Jenkins, Kevin Killian, Chris Kraus, R. Zamora Linmark, Eileen Myles, John Norton, F.S. Rosa, Camille Roy, Sarah Schulman, Gail Scott, David O. Steinberg, Lynne Tillman, Matias Viegener, Scott Watson, Laurie Weeks.

This handsomely designed, concise volume celebrates Agnes Martin's pursuit of beauty, happiness and innocence in her nonobjective art created while living in the desert of New Mexico. From her multicolored striped works to compositions of color-washed bands defined by hand-drawn lines, to the deep gray Black Paintings that characterized her work in the late 1980s, Martin's treatment of color in each of these phases is examined.

A particular emphasis is placed on the latter half of her career and the broadening vision that developed during her years working in the desert, which crystalized her quest to deepen her understanding of the essence of painting, unattached to emotion or subject, yet radiant and meditative in its pure abstraction.

With editorial contributions by a selection of writers whose cross-genre works span art writing, essay and memoir, this book expands an approach to Martin's paintings beyond a purely art historical lens, bringing new voices into the conversations around her career, inviting a rediscovery of her enduring legacy. An essay by author Durga Chew-Bose provides a poetic exploration of color; the writer Olivia Laing (author of The Lonely City) discusses the nature of solitude in her text; and Bruce Hainley uses a 1974 essay by Jill Johnston as a jumping-off point to delve into Martin's life during her years in New Mexico.

Afternoon Editions no. 0: List of books in the library of Time has fallen asleep in the afternoon sunshine. The list consists of books that have been leart by heart within the project (by heart library), an incomplete list of books that were considered to be leart by heart, that played an important role in the process of choice, or that have been considered to be learnt by heart in the future (shadow library), a growing collection of literature, publications, essays, films, ephemera relating to interests within the project (reference library).

Edition last updated May 2020.

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.

Afternoon Editions no. 2: text and drawings by Chrysa Parkinson titled Weaknesses. Between January and March 2019 Time has fallen asleep in the afternoon sunshine was presented as a solo-exhibition at Index Foundation in Stockholm. During this period Chrysa Parkinson was invited as a guest writer for Afternoon Editions. Weaknesses is a leap in memory.