BUTT's thick 35th issue packs in pleasures from shameless queers the world over. Between the splashy covers, catch popstar Troye Sivan stripped for a motel quickie, house-spinning icon Honey Dijon dish with Jeremy O. Harris, and the last-ever interview with literary legend Gary Indiana – R.I.P. Plus, find cum-dripped fantasies by Sadao Hasegawa, Pierre the Farmer naked, and the scoop on trans stripping in NYC. On the cover – Giorgi Kikonishvili, a gay-about-Tblisi organizing everything from parties and protests. And, of course, a lot more.

TROYE SIVAN, poppers-sniffing stadium star - By Zak Stone and Clifford Prince King

LALO SANTOS, OnlyFansero spills Revolutionary load - By Alberto Bustamante and Gustavo García-Villa

HONEY DIJON, house-spinning icon - By Jeremy O. Harris and Alasdair McLellan

SADAO HASEGAWA, cum-dripped fantasies from Japan - By Yasuyuki Shinohara and Sadao Hasegawa

GARY INDIANA, R.I.P. to a literary mastermind - By Michael Bullock and Reynaldo Rivera

GIORGI KKONISHVILI, gay-about-Tbilisi organizes parties and protests - By Anton Shebetko

STRIP, illegal trans strip nights in NYC - By Ruby Zarsky and Lia Clay ]

PIERRE THE FARMER, handsome French fairy milks cow naked - By Daniel Jack Lyons

DEAN SAMESHIMA, conservator of the stickiest corners of gay culture - By Evan Moffitt and Paul Mpagi Sepuya

CARLOS SÁEZ, mechanophilic artist from Valencia - By Andrew Pasquier and Raphaël Chatelain

UNFUCKWITHABLE, on the benefits of club sex - By Kay Gabriel and Sam Clarke

CAN HOST, Berlin allotment garden is fuck-friendly paradise - By Thyago Sainte

In this bold new work of cultural criticism, Ann Cvetkovich develops a queer approach to trauma. She argues for the importance of recognizing—and archiving—accounts of trauma that belong as much to the ordinary and everyday as to the domain of catastrophe. An Archive of Feelings contends that the field of trauma studies, limited by too strict a division between the public and the private, has overlooked the experiences of women and queers. Rejecting the pathologizing understandings of trauma that permeate medical and clinical discourses on the subject, Cvetkovich develops instead a sex-positive approach missing even from most feminist work on trauma. She challenges the field to engage more fully with sexual trauma and the wide range of feelings in its vicinity, including those associated with butch-femme sex and aids activism and caretaking.  

An Archive of Feelings brings together oral histories from lesbian activists involved in act up/New York; readings of literature by Dorothy Allison, Leslie Feinberg, Cherríe Moraga, and Shani Mootoo; videos by Jean Carlomusto and Pratibha Parmar; and performances by Lisa Kron, Carmelita Tropicana, and the bands Le Tigre and Tribe 8. Cvetkovich reveals how activism, performance, and literature give rise to public cultures that work through trauma and transform the conditions producing it. By looking closely at connections between sexuality, trauma, and the creation of lesbian public cultures, Cvetkovich makes those experiences that have been pushed to the peripheries of trauma culture the defining principles of a new construction of sexual trauma—one in which trauma catalyzes the creation of cultural archives and political communities.

A radical history of trans images in film, and an exploration of the political possibilities of the new trans cinema movement.

There have been trans images in cinema for over a century — very often bad cultural objects and very often inspired by the cultural zeitgeist, from Christine Jorgensen to Candy Darling to a guest on The Jerry Springer Show. But now, trans cinema as a movement is slowly emerging from the margins to create a new film language, often in reaction to these historical trans film images that cast the trans body in abject form; a corpse, a foolish joke, a tragic martyr, or even a monster.

Corpses, Fools, and Monsters is a new radical history of these trans film images, and an exploration of the political possibilities of the new trans cinema movement. Analysing the work of trans cinema directors Isabel Sandoval, Silas Howard, and the Wachowski Sisters, it also discusses the trans film image in everything from pre-talkie films and Ed Wood B-movies to Oscar-winners, body horror and slashers.

Going beyond reassessing notable films, performances, and portrayals, Corpses, Fools, and Monsters instead brings to light films and artists not given their due, along with highlighting filmmakers who are bringing trans cinema out of the margins in the twenty-first century.

In Noah Ross's new book THE DOGS, Ross opens the question of authority and possession in what he deems an illicit act of translation. THE DOGS may begin with Herve Guibert's Les Chiens, but through multiple reiterations of translation, Guibert's text ultimately meets Ross to celebrate, among other sources, Marie de France, Teen Wolf, Auden, and Dom Orejudos in establishing a unique pack of hungry werewolves. You know what happens when werewolves get together: the play can get a little rough. THE DOGS empowers these snarls and yips, growls and howls, on the level of the sentence in translation as much as the embodied erotogenic zones of the body.

Diary, memoir, poem, fiction? Autopsy, crime scene, hagiography, hymn? The chronicle of an obsessive love. In the middle of the night between the 25th and 26th of November, Vincent fell from the third floor playing parachute with a bathrobe. He drank a liter of tequila, smoked Congolese grass, snorted cocaine...

Crazy for Vincent begins with the death of the figure it fixates upon: Vincent, a skateboarding, drug-addled, delicate "monster" of a boy in whom the narrator finds a most sublime beauty. By turns tender and violent, Vincent drops in and out of French writer and photographer Hervé Guibert's life over the span of six years (from 1982, when he first met Vincent as a fifteen-year-old teenager, to 1988). After Vincent's senseless death, the narrator embarks on a reconnaissance writing mission to retrieve the Vincent that had entered, elevated, and emotionally eviscerated his life, working chronologically backward from the death that opens the text. Assembling Vincent's fragmentary appearances in his journal, the author seeks to understand what Vincent's presence in his life had been: a passion? a love? an erotic obsession? or an authorial invention? A parallel inquiry could be made into the book that results: Is it diary, memoir, poem, fiction? Autopsy, crime scene, hagiography, hymn? Crazy for Vincent is a text the very nature of which is as untethered as desire itself.

Hervé Guibert (1955-1991) was a writer, a photography critic for Le Monde, a photographer, and a filmmaker. In 1984 he and Patrice Chereau were awarded a César for best screenplay for L'Homme Blessé. Shortly before his death from AIDS, he completed La Pudeur ou L'impudeur, a video work that chronicles the last days of his life.

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.

A bold, innovative biography that offers a new understanding of the life, work, and enduring impact of Audre Lorde.

We remember Audre Lorde as an iconic writer, a quotable teacher whose words and face grace T-shirts, nonprofit annual reports, and campus diversity center walls. But even those who are inspired by Lorde’s teachings on “the creative power of difference” may be missing something fundamental about her life and work, and what they can mean for us today.

Lorde’s understanding of survival was not simply about getting through to the other side of oppression or being resilient in the face of cancer. It was about the total stakes of what it means to be in relationship with a planet in transformation. Possibly the focus on Lorde’s quotable essays, to the neglect of her complex poems, has led us to ignore her deep engagement with the natural world, the planetary dynamics of geology, meteorology, and biology. For her, ecological images are not simply metaphors but rather literal guides to how to be of earth on earth, and how to survive―to live the ethics that a Black feminist lesbian warrior poetics demands.

In Survival Is a Promise , Alexis Pauline Gumbs, the first researcher to explore the full depths of Lorde’s manuscript archives, illuminates the eternal life of Lorde. Her life and work become more than a sound bite; they become a cosmic force, teaching us the grand contingency of life together on earth.

The New York Times–bestselling author of The First Bad Man returns with an irreverently sexy, tender, hilarious, and surprising novel about a woman upending her life

A semifamous artist announces her plan to drive cross-country, from LA to New York. Twenty minutes after leaving her husband and child at home, she spontaneously exits the freeway, beds down in a nondescript motel, and immerses herself in a temporary reinvention that turns out to be the start of an entirely different journey.

Miranda July’s second novel confirms the brilliance of her unique approach to fiction. With July’s wry voice, perfect comic timing, unabashed curiosity about human intimacy, and palpable delight in pushing boundaries, All Fours tells the story of one woman’s quest for a new kind of freedom. Part absurd entertainment, part tender reinvention of the sexual, romantic, and domestic life of a forty-five-year-old female artist, All Fours transcends expectation while excavating our beliefs about life lived as a woman. Once again, July hijacks the familiar and turns it into something new and thrillingly, profoundly alive.

Aveux non Avenus is considered to be Claude Cahun’s masterpiece. Published in 1930 it defied description (it still does) and also showcased the incredible photomontages that Cahun and her lifelong partner, Marcel Moore, created together.

Cancelled Confessions reveals Claude Cahun to be a major surrealist writer and pioneering queer theorist almost a century ahead of her time.

Cahun and Moore’s appeal is wide and universal. They were adventurers in life as in art. Cahun famously terrified Andre Breton in the 1920s when she appeared in a Paris café with her head shaved and painted gold. Having moved to Jersey in 1938, Cahun and Moore waged a mischievous two-person resistance campaign against the occupying Nazi forces from 1940. Finally caught and imprisoned in 1944, they were sentenced to death in 1945, saved at the very last moment by the armistice.

With Amelia Groom Susan de Muth Claude Cahun Marcel Moore Pierre Mac Orlan François Leperlier

Designed by Joe Hales Sam Eccles

Death Book is dedicated to Bruce LaBruce’s archive of rarely published or previously unpublished work characterized by morbid fascinations. Here photographs challenge the viewer to explore what lies beneath the veneer of Western society.

The book brings this body of work together for the first time, combining LaBruce’s performances, actions, film production stills and photography that explicitly outline his obsessions, with never-before exhibited archival works from projects including Hustler White, Otto; or Up with Dead People, and L.A. Zombie.

The book is edited as loosely connected vignettes, characterised by horror, the carnage accelerated rather than overcome, questioning existing values, hierarchies, and perceptions of good and evil. A variety of faces and body parts appear, including those of actors Francois Sagat and Tiger Tyson, model/actor Tony Ward, artists Kembra Pfahler and Slava Mogutin, and cameos by legendary figures such as performance artist Ron Athey, musician/artists Genesis P-Orridge and Lady Jaye, artist Dash Snow, actor Brad Renfro, Asia Argento and Bruce LaBruce himself.

The Death Book also introduces the art director Max Siedentopf, who has designed the book as a paraphrase of the Bible, punctured with three bullet holes, piercing the book from front to back. The book contains an introduction by artist, photographer and writer Slava Mogutin.

This third print issue contains Pinko's editorials on trans eradication and Palestinian survival, essays about black lesbian sex writing, consent and its limits, the end of sexual liberalism, and a presentation of imbrication theory, plus a roundtable on political violence, an interview from Pinko's book After Accountability, and a memorial to the gay socialist publisher Jeffrey Escoffier. Illustrations by the artist KT Pe Benito grace this issue.

This second print issue contains an interview with the abolitionist organizer Stevie Wilson, essays about nineties nightlife in support of queer intimacies in Santiago, Chile, Barbz against pinkwashing, a translation of the communization theorist Gilles Dauvé’s latest work on the reactionary tendencies in the sexual liberation movement in Weimar Germany, a missive by Samuel R. Delany, a ritual script by Lou Cornum, a meditation on intersex experiences as the untheorized marrow of trans liberation, and more. There are also world-building drawings by the artist Chitra Ganesh throughout.

JJ brings together articles by cultural critic, auto/biographer, and lesbian icon Jill Johnston, translated into French for the first time, as well as texts, poems and drawings by Pauline L. Boulba, Aminata Labor, Nina Kennel and Rosanna Puyol.

Jill Johnston (1929-2010) was a dance critic, performer, writer, and feminist and lesbian activist. Her books include Marmalade Me (1971), Lesbian Nation (1973), Gullibles Travels (1974) and numerous articles in The Village Voice.

Texts by Jill Johnston; contributions by Pauline L. Boulba, Aminata Labor, Nina Kennel, Rosanna Puyol.

Translated from the English (American) by Pauline L. Boulba, Aminata Labor, Nina Kennel, Rosanna Puyol.

Graphic design: Sophie Demay & Maël Fournier-Comte (In the Shade of a Tree).

Susan Stryker is a foundational figure in trans studies. When Monsters Speak showcases the development of Stryker’s writing from the 1990s to the present. It combines canonical pieces, such as “My Words to Victor Frankenstein,” with her hard to find earlier work published in zines and newsletters. Brought together, they ground Stryker’s thought in 1990s San Francisco and its innovative queer, trans, and S/M cultures. The volume includes an introduction by editor McKenzie Wark, who highlights Stryker’s connections to developments in queer theory, media studies, and autotheory while foregrounding Stryker’s innovative writing style and scholarly methods. When Monsters Speak is an authoritative and essential collection by one of the most important and influential intellectuals of our time.

The My Comrade Anthology collects pages from past issues of My Comrade selected by Linda Simpson, printed in a substantial 256-page volume on newsprint.

My Comrade was an underground gay culture zine that set itself apart from the deluge of Xeroxed zines popping up in New York in the late 1980s and early 1990s. Through parody of both mainstream tabloid magazines and the self-serious gay press, a campy and ironic sensibility, and radical left sympathies and sloganeering, My Comrade captured the zeitgeist of the gay downtown scene. Publishing 11 issues between 1987 and 1994, and three issues since, My Comrade documents the last years of underground gay culture before marriage equality and representation at elite levels of American society became the primary drivers of gay politics and aesthetic production. My Comrade was briefly revived from 2004 to 2006, and again on the occasion of the exhibition “My Comrade Magazine: Happy 35th Gay Anniversary” at Howl! in 2022.

Tenderness is back with a second edition and new title, Tenderness: A Black Queer Meditation on Softness and Rage. This second edition has all the original content from the first edition with more to explore, including a new preface from author Annika Hansteen-Izora.

What would it mean if tenderness could hold a simultaneous existence of joy and rage? How to call on tenderness as a practice of love, rather than a regurgitation of white supremacy? Author and writer Annika Hansteen-Izora explores answers in Tenderness: A Black Queer Meditation on Softness and Rage. A meditation, critical inquiry, and invitation to expand our imaginations on meanings of tenderness, this piece calls into question conceptions of tenderness that are rooted in desirability, anti-Blackness and white supremacy, and instead unfolds the potentials of tenderness as a tool, a balm, a healing agent, and a question to lean into.

Size: 5" x 7.5", 72 pages, spiral bound. Edition of 750.

Self published by Co—Conspirator Press with the support of Feminist Center for Creative Work. Written by Annika Hansteen-Izora. Copy Edited by Aliyah Blackmore. Designed and Illustrated by MJ Balvanera. Risograph printed by Neko Natalia. Bound by South Gate Bindery.

In Running, former NCAA Division I track athlete Lindsey A. Freeman presents the feminist and queer handbook of running that she always wanted but could never find. For Freeman, running is full of joy, desire, and indulgence in the pleasure and weirdness of having a body. It allows for a space of freedom—to move and be moved. Through tender storytelling of a lifetime wearing running shoes, Freeman considers injury and recovery, what it means to run as a visibly queer person, and how the release found in running comes from a desire to touch something that cannot be accessed when still. Running invites us to run through life, legging it out the best we can with heart and style.

Trash interweaves the voices of three women with lived connections to the municipal garbage dump of Ciudad Juárez, Mexico. 

Aguilar Zéleny's Trash shows the complexities of survival and joy, love and violence for three women: a teenager abandoned by her guardian at the dump, a scientist doing research on the residents of the dump, and a transwoman living nearby who is the matriarch of a group of sex workers. 

Each one of the characters navigates family, abandonment, power, jealousy, greed, and multiple taboos around sexuality and gender violence. Their stories are linked by geography and by ideas of waste and abandonment. 

As Aguilar Zéleny explores these territories in her book, she asks crucial questions: who is seen as disposable and why? How do women find their own means of survival and joy in the midst of a perilous sociopolitical context? What does it mean to live a life in a time of austerity and extreme violence? Trash is a critical intervention in Mexican literature.

Translated by J.D. Pluecker
Lambda Literary Award Finalist for Transgender Fiction

In this issue, you’ll find different angles and takes on trans cinema. Featuring 22 contributors — the issue got pieces on gothic cinema, growing up as a TV kid in the 90s, trans femme film favs, cripness in Cronenberg’s work, love letters to the intimacy of the cinema hall and much more!

Sit back and get comfortable and let this third release take you on a journey through interviews, essays, comics, YouTube playlists, top favourite movie lists and beautiful, powerful film stills. This one is not to be missed!

Charlie Prodger works across moving image, writing, sculpture, drawing and printmaking. Through the prism of queer subjectivity, her work explores intertwined relations between the body, landscape, language, technology and time. To accompany her exhibition and the presentation of the complete film trilogy—Stoneymollan Trail, BRIDGIT, and SaF05—a book with a substantial essay by Sarah Hayden is released in Secession’s publication series.

The London-based author and associate professor of literature and visual culture analyzes the significance of voice and voiceover in Prodger’s video works. For the book, the artist has created a series of image pairings of production photos and video stills from the final part of the trilogy, SaF05.

Basta Now. Women, Trans & Non-binary in Experimental Music is a non-academic essay by French poet, novelist and music enthusiast Fanny Chiarello. It’s also the first book to be published by Permanent Draft, an all-female record label and micro-press founded by Chiarello & musician Valentina Magaletti, dedicated to promoting contemporary female, non-binary and transgender artists.

Basta Now is essentially a huge (yet admittedly not definitive) overview of 2,371 womxn in the global experimental sound & music scene. It’s been writ ten in playful and compelling prose and stylishly presented with photos, illustrations, and discographies.

“This book has nothing against men, it’s just not about them” (Fanny Chiarello)

This tale about seduction, obsession, family, and the confines of capitalism is one of director Pier Paolo Pasolini's most fascinating creations, based on his transcendent film of the same name.

Theorem is the most enigmatic of Pier Paolo Pasolini's four novels. The book started as a poem and took shape both as a work of fiction and a film, also called Theorem, released the same year. In short prose chapters interspersed with stark passages of poetry, Pasolini tells a story of transfiguration and trauma.

To the suburban mansion of a prosperous Milanese businessman comes a mysterious and beautiful young man who invites himself to stay. From the beginning he exercises a strange fascination on the inhabitants of the house, and soon everyone, from the busy father to the frustrated mother, from the yearning daughter to the weak-willed son to the housemaid from the country, has fallen in love with him. Then, as mysteriously as he appeared, the infatuating young man departs. How will these people he has touched so deeply do without him? Is there a passage out of the spiritual desert of modern capitalism into a new awakening, both of the senses and of the soul? Only questions remain at the end of a book that is at once a bedroom comedy, a political novel, and a religious parable.