Books

These powerhouse novels from Catalan superstar Eva Baltasar tell wild, delirious tales of queer women blazing new trails through sexuality, motherhood, and friendship.

The roving narrator of Permafrost trades one home for another – moving around Europe in pursuit of liberation, sex, self, and autonomy. In the International Booker-shortlisted Boulder a woman gives up her job as a Chilean fishing boat’s cook to move to Reykjavik with Samsa, the woman she loves. But when Samsa decides she wants to have a baby, she must decide whether this domestic idyll is what she is really looking for. In Mammoth, a young, disenchanted lesbian is looking to rearrange her life. She seduces a string of random men in an attempt to get pregnant and moves to a remote farmhouse to take care of sheep, battle stray cats, dabble in sex work – all in search of a more powerful, deeply felt life.

Originally published in 1987, and out of print for many years, Kicking the Pricks is a key work in Derek Jarman’s oeuvre, documenting the making of one of his most important and politically-charged films, The Last of England.

Featuring diary entries, interviews and notes from the script of the film alongside writing about his childhood, his father, the process through which he came to terms with his sexuality, his work as a painter and designer, and his debut as a film director, it is one of Jarman’s most radical publications, reflecting unsparingly on what he saw as the corruption of the cinema industry, the moral and personal consequences of AIDS, and Thatcher’s Britain.

This expanded edition features numerous archive photographs, a preface by Jarman’s companion the late Keith Collins, a new suite of poems by Richard Scott, and an extended essay by Jarman scholar Declan Wiffen. It also includes the first-ever publication of an interview with Jarman from 1988, conducted and contextualised by film producer and researcher James Norton.

‘Sleep thief is what the interrogator called me. I’ll never forget that. I would steal a few seconds of sleep so I could remain steadfast before them. The name stuck; I even dreamt about it, the same dream, night after night. I woke up not knowing what to do and drenched in sweat.’

The experimental first novel from International Booker-Prize longlisted Palestinian author Ibtisam Azem, The Sleep Thief follows the life of Gharib (“the Stranger”) Haifawi as he comes of age, is drawn into resistance, makes friends, meets lovers, pushes back against traditional values, longs to be free of the labels and expectations that burden him, rails against the commodification of suffering, and dreams of a Palestinian identity that will transcend sorrow.

In Language of the Night, Ursula K. Le Guin reflects on genre and the ethical work of writing, championing the imagination as a vital instrument of freedom. Illuminating the making of major works such as A Wizard of Earthsea and The Left Hand of Darkness, Le Guin argues for science fiction and fantasy as literary modes that sustain philosophical, political and emotional inquiry.

This wide-ranging collection considers artistic responsibility, the uses of myth, the craft of storytelling, and the role of the writer as teacher and public intellectual. It charts Le Guin’s emergence as one of the defining literary voices of the twentieth century, while also considering what she calls the ‘journey of self-knowledge’ – a psychic and moral journey into the unconscious, whose perils and rewards are best expressed through the symbolic language of dreams, fantasy and fairy tales.

In this refusal of futurity, Ursula K. Le Guin offers a counter-imaginary of place. She takes a non-linear journey through the stories we tell about progress and history, showing a way out of forward-oriented colonial modernity and its doctrine of technological utopias. Drawing upon Taoist philosophy and Indigenous storytelling, she advocates for anti-heroic alternatives to myths of endless growth.

Through Le Guin's characteristically playful prose, A Non-Euclidean View of California as a Cold Place to Be shows that how we write is inseparable from how we imagine worlds, revealing the possibilities of living differently here and now.

The debut-novel of the Lebanese-born and Berlin-based writer Edwin Nasr—a "work of hysterical fiction."

Ali, a self-denigrating Catholic and unruly homosexual who immigrated to Berlin almost a decade ago from southern Lebanon, stands accused of assaulting a police officer during a Palestine solidarity demonstration. Caught in a suspended present as he faces possible deportation from Germany, Ali prepares to bid his goodbyes to a city in ebullition. The many people in his life pierce through the dense fog of days: Francesco, an Italian ex-boyfriend afflicted with the malady of hope; Samira, his tenacious confidante and the bearer of her Syrian community's burdens; and, somewhere far away, his father Karim, who took arms with the communists against the Israeli occupation in the 1980s. There are also the Germans, and the beast that slumbers in them—who knows what it remains capable of. Carried by tragic humor and political reckoning, Fear Eats Ali is a forthright novel about the time and place of resistance, the debt one carries in its wake, and the helplessness of men in the face of immense historical transformations

"Edwin Nasr has written a great war novel that draws us into the exhausting venality of German Staatsräson and into a complex world of transnational solidarity and anti-colonial struggle. What does it mean to fight and fail and start again? This is the crucial question of Fear Eats Ali—a book for our historical moment, a book that needs to be read." — Avery F. Gordon, Professor Emerita University of California Santa Barbara, author of The Hawthorn Archive (2017) and Ghostly Matters (1997/2008)

"Indignant and charming, Nasr's prose is unforgiving in its excavation of the paradoxes by which political agency is wrested from us at every turn. Prescient, razor-sharp, and radiant." — Juliana Huxtable, author of Mucus in My Pineal Gland

Edwin Nasr was born in 1994 in Haret Sakher, Lebanon. He lives and works in Berlin, Germany. His writings on politics and contemporary art have been published in Bidoun, n+1, Afterall Journal, The Funambulist, Mousse Magazine, and Mada Masr, among others. He is the Senior Editor of Palestine is everywhere (TBA21, Silver Press and the87press, 2025) and translates from French to English for different publications.

The second volume of the journal investigating movement-based listening practices that take the forms of militant inquiry and political education, edited by the international sound art and popular education collective Ultra-red, is dedicated to the "Learning Circles for Palestine."

Contributors reflect on the current Palestine conjuncture several years after solidarity actions spread across university campuses around the world. It is now clear that the crackdown on student activism was a pretext for the dismantling or capturing of public institutions. The move against dissent also provided common ground for neofascists and liberals to enforce a consensus with imperialism.

The second volume ofUltra-red begins by pairing poems from Palestine with poems detailing the attacks on pro-Palestine students on university campuses. The journal then moves into its main feature: a dozen conversations with student and community groups. Each conversation is framed as a learning circle in which reflections shape critical questions and mark contradictions that speakers (and journal readers) continue to consider in the present moment. These learning circles come to the journal largely from contexts where Ultra-red members are involved in anti-capitalist and anti-racist base-building in Los Angeles, New York, London and in Novi Pazar. Additionally, we hear reflections on the Palestine conjuncture from the Bethlemen-based scientist and public-educator, Mazin Qumsiyeh as well as Palestinian Liberation Theologian and popular-educator, Omar Haramy. Through a list of listening protocols, the journal also offers a guide for readers to pursue their own learning circle for Palestine.

The journal continues with a special section titled, "The Case of Apartheid South Africa and Israel." This section combines historical and personal reflections on the anti-apartheid struggle in South Africa with a photo essay on anti-apartheid solidarity in the U.K. from the 1950s to the 1980s. Both articles underscore the historical links between South Africa's apartheid government and the state of Israel and the alliances established between anti-apartheid and Palestinian liberation movements.

The journal concludes with new dispatches from ongoing militant investigations. We read about Southern Italy where activists attempt to build a movement across multiple struggles from anti-extractivism to farm workers. A dispatch from the direct democracy movement in Serbia. And, an oppositional research detailing the role of neofascist operatives in pursuing hegemony in the U.S. by targeting poor people's movements and capturing university infrastructure and curriculum.

This volume of Ultra-red is edited by Dont Rhine and Robert Sember in collaboration with Zissel Aronow, Janna Graham, Chris Jones, Zoe Kisselbach, Elliot Perkins, and Araceli Veloz, and it includes numerous contributors.

Edited by Dont Rhine and Robert Sember in collaboration with Zissel Aronow, Janna Graham, Chris Jones, Zoe Kisselbach, Elliot Perkins, Araceli Veloz.

The second book in the "Brookinette" children's book series (published by Brook), We Look Alike is a book for little ones and older children alike that tells the story—through the drawings of Dutch artist Kinke Kooi—of encounters, friendship, and little mistakes, featuring a cast of snails, flowers, fruits, and ladybugs.

Kinke Kooi felt lonely in what she saw in books, stories and movies: the images never seemed to look like her. That's why she started looking at nature and gardens to find recognition. With pencils and paint, she composes a world whose shapes recall bodies as much as landscapes. Colours sounding like feelings. Often, she wonders how to represent emotions.

We Look Alike is a bilingual book in French and English, a conversation between two creatures who see each other but sometimes make mistakes, oopsy. It evokes hope for transformation in stories: encounter, recognition, friendship and little mistakes. "Am I you when you are me?" wonders a choir of flowers, snails, fruits and ladybirds, just to mention a few.

The text was written by Rosanna Puyol Boralevi based on the titles of works and conversations with Kinke Kooi, Marion Vasseur Raluy, and Alice Schneider.

Kinke Kooi (born in 1961 in Leeuwarden, lives and works in Arnhem) is a Dutch artist who creates sensitive, organic works that blend drawing, watercolor, and collage, in which bodies, flowers, and seashells merge in a world that is both sensual and poetic. In her pictorial work, Kinke Kooi magnifies the details of human bodies, animals, and plant elements—all depicted without hierarchy. A staunch feminist, she explores themes such as confinement, hospitality, metamorphosis, and our relationship with nature, prompting reflections on difference and empathy.

Rosanna Puyol Boralevi is a French poet, translator and editor. Co-founder of Brook editions, she publishes translations of texts inspired by feminist and anti-racist struggles, a literature that is both poetic and analytical. She collaborates with artists on exhibitions, video and performance programs, and organizes reading groups, writing and translation workshops, often with friends.

An invitation from Mudam Luxembourg to consider the place, role and future of cultural institutions in the twenty-first century.

This publication collects and preserves the ideas put forward during the symposium "A Model: Reimagining Museums," which took place at Mudam – The Contemporary Art Museum of Luxembourg, in June 2024. The convening explored the mission of museums today and examined how contemporary institutions can continue to serve as sources of culture, preservation, education, and community in the future.

The symposium marked the final chapter of a broader program dedicated to examining the museum as a model. The series was introduced by "A Model," a three-part exhibition curated by Bettina Steinbrügge that reflected on the role of the museum in the twenty-first century, reaffirming the need to consider the institutions a dynamic, living place, sensitive and receptive to contemporary debates. It also considered the possibilities that arise when museum collections are reimagined as active and performative environments. More than thirty artists were involved – some conceiving new commissions, others responding to works in Mudam's collection.

Texts by Giulia Bellinetti, Clémentine Deliss, Ben Eastham, António Mendes, Florence Ostende, Agustín Pérez Rubio, Bettina Steinbrügge.

Foreword by Bettina Steinbrügge; interviews with Claire Fontaine, Bettina Steinbrügge.

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Isabel Carvalho, Tomás Cunha Ferreira / Vapor Praia, João Polido, Clara Amaral, Sílvia das Fadas / Cinema Fulgor, Marta Ângela & Nu Nu Pinto / Marte i Núpiter, Okbooks! (Elsa Baslé, Leyre Léon, Chloé Gourvennec) & Mila Landreau, Pedro Barateiro / Spirit Shop, Meg Stuart, Vera Mantero, João Fiadeiro, André Lepecki, Ana Jotta, Arnaldo Antunes, and with the participants of The and's Edition: Oona Wilkinson, Sara e Tralha, Thijs Vleeschouver, Joana de Sá, Anton Ripon, Inês Barros, Anatole Prost, Maxence Junin, Nuno Beijinho, Ieva Ģertrūde Vītoliᶇa, Laura Gama Martins, and Will Gibbs.

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Olga Mesa, Francisco Ruiz de Infante, Mette Edvardsen, Clara Amaral, Pedro Barateiro, Samuel Nyholm, André Lepecki, and the participants of Errata's Edition: Guilherme Figueiredo, Alice Serrazina, Guiherme Curado, Mafalda Riobom, Fábio Pombo, Alena Koleso, Gaspar Cohen, Andreia Matos, Stéphane Lambion, Ieva Ģertrūde Vītoliᶇa, Agathe Mathel, Malva Askerup, and Laura Gama Martins.

A book by Sara Vaz & Marco Balesteros, Provisional School for Nothing.

A book that says a school, provisional and for nothing. A collection of p(o)edagogical manual, in which exercises can be read as works — works, as instructions or scores.

Imperfect dictation, or twisted ekphrasis, so that something may happen again — in another body, another voice, another time.

With contributions by Sara Graça, Tomás Cunha Ferreira / Vapor Praia, Isabel Carvalho, Von Calhau!, Maki Suzuki, Manuel Raeder, Cracked Bolos, André Lepecki, and with participants of Rien's Edition: Mila Landreau, Maren Weertman, Ashley Périer, Beatriz Baião, Chloé Gourvennec, Aleixa Inácio, Frederico Teixeira, Elsa Baslé, Márcia Mendonça, Calvin kudufia, Ana Reis, Leyre León Álvarez, Catarina Constantino, and Moritz Schottmüller.

A book by Sara Vaz & Marco Balesteros, Provisional School for Nothing.

A collective reflection on the key role that creative uses (and appropriations) of new technological tools play in the evolution of musical and sound practices and cultures.

This publication focuses on the technologies, tools and techniques that form an important part of the apparatus of music-making. It is based on the observation that cultures are shaped more by the way in which technologies are used than by the intention behind their design. Although developed with specific purposes in mind and designed within particular socio-political contexts, these can be transcended through autonomous use, allowing new constellations and insights to emerge. Historically, new technologies have often opened up spaces in this way for marginalised or excluded artists to realise their music without the constraints of manuals or a canon.

Although technology has always been an important determinant for the creation of music, the advent of electricity and electronic musical instruments brought about rapid change, giving rise to a wave of new formats, sounds, proceedings, or relations to the public. As new technologies have destabilised and pluralised traditional ideas of mastery, they have changed not only what music sounds like, but who it is produced by.

The contributions in this book came about during a four-year joint research project, and exploring aspects of this observation. They discuss the materiality of tools, their ecological impact and the emergence of artificial intelligence. They honour the possibilities of vernacular craft, of hacking and open-source cultures, and the role that spaces play in creating inclusive cultures. They unbox technologies with an aim to understand and demystify these technologies and to use them freely and in alternative ways.

Contributions by Abigail Toll, Alison O'Daniel, Artūrs Punte, Cécile Babiole, Edil Baiyzbekov, Elijah Maja, Felix Blume, Femke Snelting, Ioana Vreme Moser, Joost Rekveld, Jorge Juan B. Wieneke, Kate Carr, Leif Elggren, Līga Pentjusa, Marcin Pietruszewski, Marie Thompson, Mauro Diciocia, Natalia Glinka-Hebel & Jasmine Guffond, Pierce Warnecke & Matthew Biederman, Robert Barry, Sholto Dobie, Shortwave Collective, Sonia Soraya & Edouard Sufrin, Soumaya Phéline, Verena Kuni, Yann Leguay, Yara Mekawei & Gascia Ouzounian.

THE RUSH is an anthology of heady, imminent, erotic queer writing by 24 poets from across the English-speaking literary landscape.

Contributions by Briana Armson, Janette Ayachi, Blush Bullseye, Ash Burnel, Troy Cabida, Eden Chicken, James Daniello Jr, Zack Darsee, Meredith MacLeod Davidson, India Glover, Parel Joy, Conor Kirwan, T.S. Leonard, C.H. Lieberman, Ian Macartney, Sean Patrick Mulroy, Tom Nutting, Stuart Rawlinson, Patrick Paridee Samuel, L Scully, KD Sims, Thomas Stewart, Mark Ward and Luke Worthy.

"Rebellion and bucking, rapture and glee, an unhinged paradise, disembodied or entirely embodied to the core and vein to the tune of a hyena laugh with the swishswishswishes of a suicidal cock. This inner thigh roller coaster knows nothing about embarrassment, only ectoplasmic pearls, the flocksqueeze, and the rush of milked venom pouring out in language."
—Erin Honeycutt, author of Dear Enheduanna and co-editor of Woman

Light and air, greenery and earth take on unaccustomed qualities in the poet’s deft hand in this long poem from Lisa Robertson. Seven sections — "Sunday" to "Saturday," alternating prose and verse, repattern quotidian conversations and atmospheres: "bright and fresh," "brisk and west," "streaky and massed," January to December. A constellation of radical women is invoked to pass, elegiac, among clouds: Violette Leduc, Patty Hearst, Mary Wollstonecraft, Olympe de Gouges, Shulamith Firestone, Ti–grace Atkinson. This is exhilarating poetry, wild and trouble, that seamlessly integrated lived experience with the play in mind. It is sure to entrance.

How do artists or writers read their own work as it emerges in the studio? If we approach a creation process as an ‘ecology of attention’, then what attitudes, gestures and ways of doing come into view? Bandergewilden unfolds an experimental library of practices and vocabulary to address them.

‘Belingering. In my notebooks I glean ever more verbs and other words, often from artists and essayists who describe what they do in gestural terms. Pointing. Directing attention, marking curiosity. Stroking. Tracing. Touching the world with words, not unlike drawing. With a pencil, a piece of chalk, an antenna. Writing with. Writing alongside. Like taking a walk, stretching out one’s body along the terrain, going along. Attending. Lurking. Sidling. Attending sideways. Practising alongside. Finding oneself in a situation. Cutting along. Squirrelling. Drawing loops. Doodling. More gestures, the mind bending and stretching as it seeks to reach somewhere, leaving scribbles traversing the body, resting on the tip of one’s tongue then venturing out, creating bridges and pathways. Bandergewilden.’ Jeroen Peeters is an essayist, dramaturg and performer, working across the media of writing, not-writing, performance and publication. He researches matters such as ecologies of attention, material literacy, readership, commoning and cultural rewilding.

Avec Camille Demirian, Gabrielle Culand et Fleur Caméra, Camille Chambon (Karaocake), Sara Lehad, Radio Hito, Federica De Ruvo, Miskin Télé, Nana Esi, Sara Mokrani, Vivien Goldman, Eve Alpert et DJ Ventilateur.

Le Cavalier de coupe est un recueil "d’écriture épistolaire, un effort […] pour appréhender le temps présent par le dialogue et le rituel, en passant au crible le paysage psychogéographique et le langage, à la recherche de traces de colonisation, à la recherche de formes précaires de pensée et de liberté, en essayant de trouver des moyens de les protéger, de les célébrer, de les incarner."

Ce livre a été publié une première fois par Belladonna* (Chaplet Series #318) à Brooklyn, New York City, le 21 juillet 2023.

Starting from the trivial or rooted into fantasy, the poems and short stories collected in “Learning to Count” – Michael Van den Abeele’s second book of this kind – veer into the grotesque or the bizarre, revealing the glitches of a reality that is just waiting to hallucinate. In the eponymous text, “Learning to Count,” Van den Abeele reflects on an iconic photograph of the Ramones, standing against a wall, all dressed in identical jeans. Is this forest of legs ornament, or crime? Do ripped trousers still hold any political significance? What social beliefs make a community?

Marked by anxiety and detachment, the “I” in Van den Abeele’s stories find himself in situations that drift toward unspeakable truths, bittersweet awakenings, or darker insights. Yet Van den Abeele’s prose also tackles the exuberance of Baroque church, or reflects on the ubiquity of burrata on restaurant menus— not to mention the connections between romantic love and making sandwiches.

Often written to be read and performed, Van den Abeele’s texts stand out for the originality of their style, their unique humor, their distinctive sense of detail, and the author’s ability to make unexpected connections between Cézanne and Matrix, Wile E. Coyote and Roland Barthes, or motherhood and landscape gardening

This book is published in conjunction with Michael Van den Abeele’s exhibition Ouija at CRAC Alsace (Fall–Winter 2026/2027) and is also available in French.

Co-published with CRAC Alsace

The first book devoted to the late writer and actress Dorothy Dean.

This second edition of Who Are You Dorothy Dean? brings together a wider selection of Dean's writings, including correspondence and excerpts from her journal. It shines light on her friendships with Edie Sedgwick, Rene Ricard, Harvey Milk, Taylor Mead, Boyd McDonald, and others. Included are their letters and photographs, as well as stills from Dean's appearances in Warhol's films.

Dorothy Dean (1932–1987) was a key figure in the 1960s New York underground scene—starring in six of Andy Warhol's films and inspiring the likes of Robert Mapplethorpe and Robert Creeley. Said to be the first woman hired as fact-checker at the New Yorker, Dean held shortlived editorial and proofreading positions at publications such as Vogue before launching her own bulletin of film reviews, the All-Lavender Cinema Courier.

New expanded edition of the book first published in 2024 (ISBN 978-2-9581084-1-0).

Edited by Anaïs Ngbanzo.

Foreword by Collier Schorr.

Texts by Dorothy Dean, Edie Sedgwick, Robert Creeley, Gerard Malanga, Rene Ricard, Taylor Mead, et al.

Translated from the English (American) by Dennis Crowch and Héloïse Esquié.

This book offers the first comprehensive overview of Anna Franceschini's practice. Organized around recurring themes, it explores animation, the body, machines, ghosts, desire, and windows through commissioned contributions and selected writings. Its associative structure reflects her interest in repetition, transformation, and unstable images.

Machines Wear Costumes is Anna Franceschini's first monograph, bringing together works made between 2007 and 2025. Rather than a chronological account, the publication offers an in-depth look at the artist's oeuvre through a specialized lexicon.

This glossary is organized around six core entries—Animation, Body, Machine, Ghost, Desire, and Window—which are further articulated in subentries that refine their meaning in relation to the artist's work. Newly commissioned texts by Mohamed Almusibli, Attilia Fattori Franchini, Ilaria Gianni, Ingrid Luquet-Gad, Jeppe Ugelvig, and Marianna Vecellio are expanded by a constellation of quotations from previously published texts to offer a composite yet coherent interpretation.

Indebted in structure to Walter Benjamin's Das Passagen‑Werk, and in visual approach to Aby Warburg's Mnemosyne Atlas, the book favors juxtaposition and recurrence over linear narrative, mirroring Franceschini's own practice of repetition, rotation, and animation. By resisting a fixed reading order, the volume invites an open and recursive engagement, functioning as a "desiring machine," activated anew through each act of looking and reading.

Edited by Attilia Fattori Franchini, Anna Franceschini, Ilaria Gianni.

Texts by Chiara Agradi, Mohamed Almusibli, Fabio Cherstich, Liv Cuniberti, Gioia Dal Molin, Bernardo De Souza, Vincenzo di Rosa, Attilia Fattori Franchini, Francesco Urbano Ragazzi, Ilaria Gianni, Ingrid Luquet-Gad, Beniamino Marini, Nick Mauss, Giacomo Mercuriali, Alice Motard, Tabea Panizzi, Tobias Perse, Jennifer Teets, Roberta Tenconi, Jeppe Ugelvig, Joel Valabrega, Marianna Vecellio.

This is the very first book on the influential American choreographer and dancer Trajal Harrell. In an entertaining, far-reaching conversation with curator Daniel Baumann, Harrell covers all of his choreographies and performances, as well as his influences, successes, and failures, addressing how he transforms and transgresses the history of dance.

The conversation with Swiss curator Daniel Baumann unfolds along the multiple trails blazed by Harrell's career. It brings into sharp focus not only the artist's interests and influences but also his own creative practice, encompassing both successes and failures. With disarming frankness and a tangible sense of vulnerability, Harrell walks the reader through the history of dance: He explains how he fought with it, how it has shaped him (and vice versa), and how he has gradually carved out a space of his own within it.

Edited by Daniel Baumann.
Interview with Trajal Harrell by Daniel Baumann.

The second volume of the sdvig series, dedicated to translingual avant-garde writing, brings together the writings of the Ukrainian modernist poet Maik Yohansen from the 1920s and 1930s, translated into English.

Maik Yohansen was a witty and innovative modernist writer in 1920s Ukraine. This small selection of his work includes How to Write Short Stories, a whimsical guide to the art of short-story writing, informed by Formalist and Marxist criticism the author can't help lampooning. It also includes Shop Signs in Kharkiv, a short and irreverent essay on language politics in Soviet Ukraine a decade after the fall of the Russian Empire. And it includes an autobiography and a selection of Yohansen's masterful poetry in the original and translation.
Everything that Yohansen did—whether fiction, or cultural criticism, or linguistics, or screenwriting, or even autobiographical sketches—he did as a poet, listening to and playing with language. He dedicated his life to achieving equality for Ukrainian as a medium for world literature. In 1937 Maik Yohansen was shot on trumped-up terrorism charges in the mass purge of authors whom Ukrainians now call "the Executed Renaissance."
Translated by poet Eugene Ostashevsky, Yohansen's writings are introduced by Galina Babak, scholar of Ukrainian Formalism.

Maik Yohansen (1895–1937) was an Ukrainian modernist writer, poet, playwright, translator, critic and linguist. He was one of the founders of the literary union VAPLITE (Vilna Akademia Proletarskoi Literatury).

Ettie Stettheimer bares all in Love Days, inviting us into the Stettheimer family’s salon of avant-garde artists. Meet Ettie’s alter ego, Susanna Moore, a ravishing Greek scholar. Susanna has no trouble deciphering arcane texts, but when it comes to matters of the heart, she’s lost in translation. Her desire for love, knowledge, and the company of great artists takes her from New York to Berlin to Capri to Paris. She can only run from herself for so long. . . .

Henrietta “Ettie” Stettheimer (1875-1955) was a writer and one of the “Stetties,” a trio of artistic sisters who lived between Europe and New York in the late nineteenth and early twentieth centuries. With Carrie, the architect of an elaborate dollhouse, and Florine, a painter whose iconoclastic canvases have made their way into the modernist canon, Ettie hosted a salon frequented by the day’s avant garde. In a time when it was still unusual for women to pursue higher education, Ettie graduated from Barnard College in 1896, received a master’s degree at Columbia in 1898, and earned her Ph.D. in philosophy at the University of Freiburg in 1908. Ettie published two novels, Philosophy: An Autobiographical Fragment and Love Days, under the pseudonym “Henrie Waste.”