Eunuch

Má dreams of wealth and grandeur, Hieu dreams of Finnish girls. The younger brother, always on the periphery, always an observer, gradually disappears into his schoolwork, mesmerised by his own intellect

The three of them form a solitary world in a small Ostrobothnian town on the west coast of Finland. Má and Hieu, constantly on a collision course with each other and the community’s suffocating social codes. They live among people who want to talk openly about everything, who don’t understand the necessity of sometimes remaining in the shade. 

In sensitive and transfixing prose that has the effect of a series of tableaux, and with chapter headings reminiscent of the intertitles in a silent film, Tran’s multi-award-winning debut is a moving story about love, the compulsion to create, and the meaning of family.

Winner of the Runeberg Prize 2022
Winner of the Borås Tidning’s Debutant Prize 2022
Winner of the Svenska Yle Literature Prize 2021
Shortlisted for the Katapult Prize 2022

A punk rock anti-memoir told through the eyes of a biracial Afrolatino punk academic. 

¡PÓNK! follows Moose, an alienated academic and lead guitarist for Pipebomb!, as he navigates through spaces in and out of South East Los Angeles: punk clubs, college classrooms, family gatherings, street protests, and euphoric backyard shows.Oscillating between autofiction, memoir, and lyric, Clayton blurs genres while articulating the layered effects of racism, trauma, immigration, policing, Black hair, performance, and toxic academic language to uncover how one truly becomes an "ally." Borrowing from the spatial lyricism of Claudia Rankine, the genre-bending storytelling of Alexander Chee, and the racial musings of James Baldwin, ¡PÓNK!'s narrative takes back punk rock and finds safe space in the mosh pit.

What do we start with when telling a story — What tensions activate it — What does it promise — What do we want from it — How do we deliver it — Must it have an end — What about a story which never began — Stories we wish were told — Stories which have always been there — Stories we don’t know how to start.

Beginnings is a collective attempt at questioning protocols and forms of narration, initiated by Manon Michèle. The publication gathers textual and visual works from twenty-nine artists, writers and collectives. With two covers, ninety-six pages, and no end, the publication remains in flux, with no definitive conclusions but the shape of an ongoing question: Where do we start and where might the act of arriving lead.

There’s bodies thrusted through motion, accelerations, collapses, into the folly of life, death, borders and language. There’s following intuition, rabbits, leaders, and the shape of clouds, switching from script to script to escape latched circles and compliance. There’s braiding together clashing dimensions and vital landmarks, processing ghosts to reclaim space, feeding them to trusted spirits. There’s foreseeing new shapes, and believing in what grows. There’s the poetry of saving what can be saved and the pull of letting go. There’s so much to begin with

Contributors
Alice dos Reis, Anaïs Fontanges, Anna Bierler, Auriane Preud’homme, Bravas Graphix, Calli Uzza Layton, Clara Pasteau, Cleo Tsw, D-E-A-L, Elina Birkehag, Eliott Déchamboux, Emilie Pitoiset, Heleen Mineur, Hyo Young Chu, Josefina Anjou, Juliette Lepineau, Kimberley Cosmilla, Manon Michèle, Maria Paris, Marie-Mam Sai Bellier, Mathis Perron, Mia Trabalon, Pablo Bardinet, Pays de Glossolalie, Philip Ullman, Raphaël Massart, Sanae Oujjit, Silvana Mc Nulty, Yunie Chae

Beginnings was edited and designed by Manon Michèle and Oliver Boulton, and published by Ex. Coda, 2025.

Fort Beau – verhalen van beginnen en eindes, een nieuw boek van kunstcriticus en curator Pieter Van Bogaert ontstaan aan zee, is het eerste in de Bibliotheek van de Noordzee: een nieuwe reeks van Kunstencentrum KAAP over kunst en samenleving.

Fort Beau heeft twee beginnen en eindes: één van elk op de linkerpagina’s en nog eens hetzelfde maar anders – als een vage kopie – rechts. Van de kunst van het lopen gaat het naar lopen als kunst. Van het strand in Oostende gaat het naar het Kaaitheater in Brussel. Van de huiskamer naar de wereld. Van de Palestijnen naar de sans-papiers. Twee boeken naast elkaar die zich in een gedurfde vormgeving van Maaike Beuten ontwikkelen en besmetten tot één verhaal.

Night Philosophy is collected around the figure of the child, the figure of the child not just as a little person under the tutelage of adults, but also the submerged one, who knows, who is without power, who doesn’t matter. The book proposes a minor politics that disperses all concentrations of power. Fanny Howe chronicles the weak and persistent, those who never assimilate at the cost of having another group to dominate. She explores the dynamics of the child as victim in a desensitized era, when transgression is the zeitgeist and the victim–perpetrator model controls citizens. With an afterword by Chris Kraus.

History and literature seem to be losing ground to the brave new world of electronic media and technology, and battle lines are being drawn between the humanities and technology, the first world and the third world, women and men. Narrator Mira Enketei erases those boundaries in her punning monologue, blurring the texts of Herodotus with the callers to a talk-radio program, and blending contemporary history with ancient: fairy-tale and literal/invented people (the kidnappers of capitalism, a girl-warrior from Somalia, a pop singer, a political writer), connected by an elaborate mock-genealogy stretching back to the Greek gods, move in and out of each other's stories. The narrator sometimes sees herself as Cassandra, condemned by Apollo to prophesy but never to be believed, enslaved by Agamemnon after the fall of Troy. Brooke-Rose amalgamates ancient literature with modern crises to produce a powerful novel about the future of culture.

Christine Frances Evelyn Brooke-Rose was a British writer and literary critic, known principally for her later, experimental novels.