The latest in writer and visual artist Renee Gladman's ever-expanding body of imaginative investigation is a sui generis novel of queerness and art-making, philosophy and sex. 

The narrator of My Lesbian Novel is Renee Gladman, an artist and writer who has produced the same acclaimed body of experimental art and prose as real-life Renee Gladman, and who is now being interviewed by an unnamed interlocutor about a project in process, a seeming departure from her other works, a lesbian romance. 

Between reflections on art making and on the genre of lesbian romance - "though aspects of the formula drive me crazy... people who write these stories understand how beautiful women are" - a romance novel of her own takes shape on the page, written alongside the interview, which sometimes skips whole years between questions, so that time and aging become part of the process. 

The result is a beautifully orchestrated dialogue between reflection and desire, or clarity and confusion, between the pleasures of form and the pleasures of freedom in the unspooling of sentences over time.

Renee Gladman is a writer and artist preoccupied with crossings, thresholds, and geographies as they play out at the intersections of poetry, prose, drawing, and architecture. She is the author of fourteen published works, including a cycle of novels about the city-state Ravicka and its inhabitants, the Ravickians, all published by Dorothy-- Event Factory, The Ravickians, Ana Patova Crosses a Bridge, and Houses of Ravicka. She has been awarded fellowships, artist grants, and residencies from the Radcliffe Institute for Advanced Study at Harvard, Foundation for Contemporary Arts, the Lannan Foundation, and KW Institute for Contemporary Art (Berlin), and was a 2021 Windham-Campbell Prize winner in fiction. She makes her home in New England with poet-ceremonialist Danielle Vogel.

The prequel to Love Me Tender, narrating Debré's transformation from affluent career woman to broke single lesbian and writer.

I see all her beauty, I see the beauty of women. I see my own body, new. I tell myself there are so many things that are possible.

First published in France in 2018, Playboy is the first volume of Constance Debré's renowned autobiographical trilogy that describes her decision, at age forty-three, to abandon her marriage, her legal career, and her bourgeois Parisian life to become a lesbian and a writer.

The novel unfolds in a series of short, sharp vignettes. The narrator's descriptions of her first female lovers—a married woman fifteen years older than her, a model ten years her junior—are punctuated by encounters with her ex-husband, her father, and her son.

As Debré recently told Granta: “It was a bit like Saint Augustine and his conversion. In the same week, I had sex with a girl and I had the feeling that I could write. I had this incredible feeling that I could catch things, that life was there to be caught.”

Looking at the world through fresh eyes, the narrator of Playboy questions everything that once lay beneath the surface of her well-managed life. Laconic, aggressive, and radically truthful, she examines gender and marriage, selfishness and sacrifice, money and family, even the privilege inherent in her downward mobility.

Writing her way toward her own liberation, Debré chronicles the process that made her one of the most brilliant, important French writers today.

Set against a backdrop of 1950s New York, this experimental novel follows an ensemble cast of all-singing, all-dancing butch dykes and Yiddish anarchists through eternal Friday nights, around the table, and at the bar. 

In one of many bars, Frankie Gold sings while Sammy Silver plays piano after a day job at the anarchist newspaper. The Butch Piano Players Union meets in the corner next to the jukebox. Laur smokes on the back steps, sweaty thigh to thigh with Vic. Frankie's childhood sweetheart, Lily, turns up at yet another bar to see a second Sammy play every Friday night. And before all that, there's always dinner at Marg's. Fabulated out of oral histories, anthologies, as well as the fiction of the butch-femme bar scene and Yiddish anarchist tradition, Greasepaint is a rollicking whirlwind of music and politics—the currents of community embodied and held inside the bar.

Publié cinq ans après L’Opoponax, Les Guérillères, second livre de Monique Wittig, vient à son heure pour souligner et fortifier notre conviction. Le talent de cet écrivain le porte, j’allais écrire, pour notre plaisir et notre profonde satisfaction, à faire du récit le lieu naturel de la contestation du langage, non pas contestation abrupte et maladroite, mais contestation habile par le biais d’une opération beaucoup plus subtile et toujours séduisante. Il semble, en effet, que mots et phrases soient deux fois présents dans le texte : d’abord comme les mots et les phrases de l’usage traditionnel, ensuite comme éléments actifs de l’autodestruction. La métamorphose est très frappante dans ce nouveau livre. Convaincante aussi, tant est sensible le renouveau des images, et leur force.Notons pour commencer, que les Guérillères (ce curieux féminin de « guérilleros ») ne sont ni les cousines, ni les lointaines descendantes des Amazones auxquelles Hérodote prêta le nom scythe d’Oiorpata, ou tueuses d’hommes. La destruction de l’homme n’est pas l’enjeu du combat que les guérillères ont décidé de mener jusqu’à son therme. Ce qu’elles combattent, c’est l’oppression, ou plutôt sa cause, le langage, celui qu’elles ont reçu des hommes, lesquels les ont, par ce moyen, d’abord nommées, puis soumises et réduites à la merci des mots. Ce qu’elles veulent promouvoir, c’est un monde nouveau où elles retrouveront l’expression de l’indépendance originelle. — André Dalmas, La Quinzaine littéraire (novembre 1969)

“The “opoponax” uses neither the language of adults nor that of children; he is neither the novelist nor a narrator. Confronting – in a moving “we” – the “he” and the “I”, he seems to have cancelled them out by the other: this voice which speaks in the present tense of very concrete things, which is gradually strengthening and discovering itself, could it not simply be ours?

My Opoponax is perhaps, indeed it is almost certainly the first modern book ever written about childhood. My Opoponax is the capital execution of ninety per cent of the books that have been written about childhood. It is the end of a certain literature and I thank God for it. It is a book that is both admirable and very important because it is governed by an iron rule, never or almost never broken, that of using only pure descriptive material, and only one tool, pure objective language. The latter takes on its full meaning here. It is the very same language – but brought to the plainsong by the author – that childhood uses to clear out and count its universe. Which is to say that my Opoponax is a masterpiece of writing because it is written in the exact language of the Opoponax.” (Marguerite Duras)

Cactus erotica. Dykes taking T erotica. Handmade rope erotica. 
Tangentially alien erotica. Clit long like laffy taffy erotica. Death erotica.

In L.A. Warman's anti-sequel to her award-winning debut Whore Foods, two anonymous lovers traverse the vast and lonely desert which has blighted most of the continent. In their possession is the gift of the Vapors, a mystical substance which allows them to transcend death. Yet as they explore the desert realm and each other, they cannot help but wonder if their entwined destiny resides somewhere beyond transcendence.

LA Warman is a poet, performer, and teacher currently based in New York City. Warman is the author of Whore Foods, an erotic novella which recieved a Lambda Literary Award in 2020. She is the founder of Warman School, a non-accredited and body based learning center. The Warman School has taught over 500 students online and in person. She teaches topics such as erotics, death, depression, and god. Pitchfork named her piece ADMSDP one of the top 100 songs of 2020. She has had performance and installation work in shows at MOCA Cleveland, ICA Philadelphia, Time-Based Art Festival, Poetry Project, and Open Engagement. Warman has presented performative poetics research at Brown University, Hamilton College, Reed College, Hampshire College, and others. She is a founding organizer of the Free Ashley Now survivor defense campaign.

"This book is an instant waypoint on my return to the revelation: if nothing else, my tears have a place where they belong—mixed into the dust of others." — Wilmer Wilson IV

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.

This bootleg edition collects scanned copies of Monique Wittig's writing. It includes; The Lesbian Body, Les Guérillères, The Opoponax, and Lesbian Peoples: material for a dictionary— In true bootleg style, punk enough to carry the truly radical words of Wittig: scans, a little grainy, with marginalia of unknown origins. Now, we can dress ourselves in the ravishingly erotic, violent splendorous brilliance to become baby Wittigs.  This edition was assembled out of a deep love of Wittig's work by Chloe Chignell.  

Printed in 2021.

Monique Wittig was a French author and feminist theorist particularly interested in overcoming gender and the heterosexual contract. She published her first novel, L'opoponax, in 1964. Her second novel, Les Guérillères (1969), was a landmark in lesbian feminism.

Recherches du groupe EAAPES initié par Clara Pacotte et Charlotte Houette autour des questions queer et de féminismes dans la littérature de science-fiction/fiction spéculative.

Contient des traductions des essais de Joanna Russ du recueil To Write Like A Woman, des interviews à la Wiscon, des textes originaux, des articles plus contemporains, des extraits de fictions déjà publiées.

Les textes en langue étrangère sont tous traduits en français.

Avec les contributions de Adèle Iris, Adèle Rolland, Maïwenn Le Mouée, Esmé Planchon, Nana Benamer, Josèfa Ntjam, FLG.

Pub. 2018

What are Jewish lesbians thinking about? Writing about? Making art about now, here in the first two decades of the 21st Century? Do we see ourselves as Jewish dykes? Jewish lesbians? Genderqueer Jews? How are we thinking about our Jewish lesbian communities and families, natal or invented? How have our relationships to the states of Israel and Palestine changed over time? Can we reconcile the contradictions between our faiths and our politics? Our gender and racial identities? How do we envision our futures and reimagine our pasts, especially in these fractious and dangerous times? One thing is certain. Our commitments to making trouble and speaking up are strong.

This issue of Sinister Wisdom: To Be a Jewish Dyke in the 21st Century, which takes its title from that life-giving stanza in Muriel Rukeyser’s epic poem “letter to the Front”, is a gathering of answers, challenges, and opinions directed at these and other questions.

Featuring work by
Yael Mishali
JEB (Joan E. Biren)
Terry Baum
Joan Larkin
Susan Sherman
Clare Kinberg
Irena Klepfisz
Nancy K Bereano
Penny Rosenwasser
Bonnie Morris
Jyl Lynn Felman
Marla Brettschneider
And more!

In 1937, Gertrude Stein wrote a sequel to The Autobiography of Alice B. Toklas, but this darker and more complex work was long misunderstood and neglected. An account of her experiences in the wake of having authored a bestseller, Everybody's Autobiography is as funny and engaging as The Autobiography of Alice B. Toklas, but it is also a meditation on the meaning of success and identity in America.

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.

Published 2008

In My Paris, a Canadian woman keeps an extraordinary journal of her time in a Parisian studio. Not a typical tourist, she prefers indoor spaces, seeing Paris go by on TV or watching from her window the ever-changing displays of men's designer clothing across the boulevard. Or she roams the streets, caught between nostalgia and a competing sense of the present day, between Paris's rich cultural traditions and the realities of Western imperialism. Disillusioned by her inability to reconcile these contradictions and by her own part in perpetuating them, she assembles in her journal pieces of the present, past, of art, philosophy, of herself, and of the world outside her.

Gail Scott is a writer and translator. She has been short-listed twice for the QSPELL (Québec English-language fiction) award. A former journalist who has worked for Canada's leading newspapers, she is also a founding editor of the Montreal French-language cultural journal Spirale, and the bilingual journal of women's writing, Tessera. Her translations include France Thoret's Laurence, and The Sailor's Disquiet, and Helen with a Secret, both by Michael Delisle.

A new edition of Sarah Schulman's acclaimed 1988 novel, a noirish tale about a no-nonsense coffee-shop waitress in New York who is nursing a broken heart after her girlfriend Dolores leaves her; her attempts to find love again are funny, sexy, and ultimately even violent. After Delores is a fast-paced, electrifying chronicle of the Lower East Side's lesbian subculture in the 1980s.

Sarah Schulman is the author of sixteen books, including the novels The Mere Future, The Child, Rat Bohemia, and Empathy (all from Arsenal Pulp Press) and the recent nonfiction works The Gentrification of the Mind: Witness to a Lost Imagination and Israel/Palestine and the Queer International. She was also co-producer with Jim Hubbard of the feature documentary United in Anger: A History of ACT UP and is co-director of the ACT UP Oral History Project. She lives in New York, where she is Distinguished Professor of English at City University of New York (College of Staten Island) and a Fellow at the New York Institute for the Humanities at NYU.

Forty-five years ago movements of liberation made possible the birth of a new project in the world, the Lesbian Herstory Archives. In Sinister Wisdom 118 are some of the founding stories, telling what it meant to walk first into an apartment and later into a four-story limestone building, where shame became history, secrets became shared connections and complex lesbian, queer histories were enriched by maintaining intergenerational community.

A grassroots collection, the Archives was intentional about engaging with all facets and complexities of lesbian life, inclusive of diversity in race and gender-identity, from the bar life of the fifties and before, to the lesbian-feminist cultural richness of the mid-twentieth century and beynd, to the gender richness of the tweny-first. This issue honors an Archives that articulates the complexities of how lesbians make our way in the world.

Collecting and expanding pieces from her seminal newsletter detailing the inner and outer sexual life of a grocery store cashier, LA WARMAN'S WHORE FOODS is a guaranteed feast for sore thighs. Now available in raw pulp paperback form for the first time. Cleanup in Aisle 4.

"She made fun of the construction workers for not being white, for not knowing time like she knows time and I can’t say “That’s racist” because I am on the job. I am getting paid not to speak. I am getting paid to open up my body to you but not reveal it. The way I put my eyes down when you fight with your husband in line. To shit my pants only a little so you can’t see. The smell of watercress, pineapple, rice, and shit. She’s in my line again asking me if I eat ass.

Yes, sometimes.

Saw a good ass, saw a real good ass."

LA Warman is a poet and performer. She is the founder of GLASS PRESS, a publisher of art and poetry on flash drives. Warman has had work in shows at MOCA Cleveland, ICA Philadelphia, Time-Based Art Festival, General Public Collective, Flying Object, A.T.M. Gallery, and Open Engagement. Her chapbooks How to Become a Lesbian and THE CAVE THE CHURCH THE BEDROOM THE MALL were published by Inpatient Press and After Hours Ltd. Warman wrote and directed a 12 hour text and movement performance piece, Break, that premiered at Deli Gallery in 2018. She teaches Erotica classes online at LAWarman.com and in Brooklyn.

A necessary and relevant addition to the Black LGBTQ literary canon, which oftentimes overlooks Black lesbian writing, Lez Talk is a collection of short stories that embraces the fullness of Black lesbian experiences. The contributors operate under the assumption that "lesbian" is not a dirty word, and have written stories that amplify the diversity of Black lesbian lives.

At once provocative, emotional, adventurous, and celebratory, Lez Talk crosses a range of fictional genres, including romance, speculative, and humor. The writers explore new subjects and aspects of their experiences, and affirm their gifts as writers and lesbian women. Beginning with Sheree L. Greer's "I Can't Turn it Off," a short, powerful tale imbued with socio-political undercurrents, the collection also includes work from Claudia Moss, LaToya Hankins, Lauren Cherelle, K.A. Smith, S. Andrea Allen, Faith Mosley, and Eternity Philops.

It's summer in New York City and the streets are sizzling. Below 14th Street the girls at the Kitsch-Inn are hard at work on their new lesbian version of A StreetCar Named Desire. As the temperature rises, lesbian-at-large Lila Futuransky is looking for adventure, with her keys in her pocket and a copy of On The Road in her hand.

A fast-paced, spirited romp through politics and sexuality, Girls, Visions and Everything offers a funny, affectionate portrait of a group of struggling young artists trying to find meaning in their changing world.

Taking as its starting point an ultimately failed attempt to translate a Sesotho short story into English, Chronology explores the spaces language occupies in relationships, colonial history, and the postcolonial present. It is a collage of images and documents, folding on words-that-follow-no-chronology, unveiling layers of meaning of queering love, friendship, death, and power. Traveling from Cape Town to the Schomburg Center in New York, Zahra Patterson’s Chronology reveals and revels in fragments of the past-personal and the present-political.

Chronology was awarded the 2019 LAMBDA Literary Award for Lesbian Memoir/Biography.

Zahra Patterson is a writer and educator. Her short fiction has appeared in Kalyani Magazine and The Felt, and a reading of her play, Sappho’s Last Supper, was staged at WOW Café Theatre. She learned postcolonial theory in the bookshops of Nairobi and the bars of Cape Town and has an MFA in Writing from Pratt Institute.

How do lesbians live in the city, whether they live in the city by themselves or within intentional community? How does the city change what being a lesbian means? Sinister Wisdom 117: Lesbians in the City explores these questions--and many more.

The issue features creative work by: Srestha Sen, Carina Julig, Roin Morigeau, t pomar, Rita Mookerjee, Margarita Meklina as well as SPORTS -- a selection of work from the Southern Lesbian Feminist Activist Herstory Project, edited by Rose Norman and Merril Mushroom. Plus a great selection of new lesbian writing!

A Midsummer Night’s Press and Sinister Wisdom are pleased to announce the publication of Sinister Wisdom 102: The Complete Works of Pat Parker with a new introduction by poet and scholar Judy Grahn; an afterword by volume editor Julie R. Enszer, with extensive notes on the poems; photographs of Parker and a bibliography.

'In The Complete Works of Pat Parker, we have a trove of her artistic and political engagements-poetry and stories and plays and speeches; these are not separate realities. They intertwine in her now classic works, Movement in Black (1978), Womanslaughter (1978), and Jonestown & Other Madness (1985). But here too are less celebrated and uncollected works, plays especially, that show off Parker’s willingness to experiment, to push us towards more politicized realities.' - Alexis de Veaux

Included in Sinister Wisdom 102: The Complete Works of Pat Parker are Parker’s masterwork, Movement in Black, as well as Jonestown & other madness. Parker’s prose writing is collected in The Complete Works along with two unpublished plays and a number of previously uncollected poems. Editor Julie R. Enszer notes, “The breadth of creative output collected here demonstrates the seriousness of Parker’s overall work as a writer. Beginning in 1963, when she was nineteen years old, and continuing until she died in 1989, Parker took her work as a writer seriously. Gathering as much of it as possible into a single volume invites readers to take it seriously as well.”

Nightwood, Djuna Barnes' strange and sinuous tour de force, "belongs to that small class of books that somehow reflect a time or an epoch" (Times Literary Supplement). That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna--a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous.

The outsized characters who inhabit this world are some of the most memorable in all of fiction--there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another persona woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature.