(Forced) Movement

What does it mean to drill deep and interfere with the configuration of tectonic plates? What does it mean to hollow out and alienate islandic undergrounds? How is wealth extracted and exploited from the ground, crumbled into fragments, transformed into matter, pieces of power, moved away to be represented elsewhere? Whose lungs and souls are capitalized upon and hidden under the suffocating dust in mining shafts? To whom do the surface of the land and its underground belong?

This book takes proto-industrial mining in the Aegean island of Serifos as an entry point for disclosing historical and contemporary consequences of politics of the soil through land extraction, and looks at how mineral evidence was historically produced, disseminated, and capitalized upon in the Aegean region and beyond.

Contents:

Mineral Travels:
Fragments of Geographies on the Move
by Lydia Xynogala

The Evil in the Surface
by Lorena Vicini

Consuming Land at Serifos
by Asli Özdoyuran
and David Bergé

Letter from Frikas Fortress
by Constantinos Speras

Iron Lungs
by Milica Ivic

Walking on Marble: Materialized Histories
by Anna Run Tryggvadottir

Aggressively rebounding after recessions and the pandemic, sprawling landscapes of tourism in the Mediterranean continue to build upon the iconic spatial typology of sea & sun vacationing: the beach. But behind the leisurely scattered bodies and the quiescent summer shores, beachfronts are assembled as intensely ordered infrastructures for the heavy machineries of tourism.

Approaching the beach as an operational socio-technical landscape, this book unpacks stories of construction, programming, and maintenance: from traces of moving sands in Lefkada island to mirror postwar developments in Delos and Mykonos islands, and from historic and bodily excursions to workings of the Athenian riviera to rituals of eco-certification under Blue Flags.

The texts frame the beach as a machine, one with protocols of function and metabolic needs, studying how it directs the capture of land and bodies, while establishing forms of environmental control. As a repeatable and proliferating type of infrastructure space, the beach has the potential to expose parallel evidence of seeming globalizations and patchy planetarities.

Contents:

Flying Flags, Fixing Sands
by George Papam

Moving Sands: Ammoglossa
by Eleni Grapsa

Delos Symposia
and Delos LTD:
Making Global Leisurescapes
by Petros Phokaides

Beach Making:
The Naked Body on the Rocks
by Phevos Kallitsis

Beach Effect
by Hannah Freed-Thall

Hello Hygiene:
A Guide for Bathers
by Lydia Xynogala

Tourism does more than transforming spaces and forcing emotions: its geographies also conceal a persisting power that captures the imagination. In their operational sturdiness, tourismscapes appear intractable and inert, making their alternative renderings almost unthinkable. It feels uncanny to picture islands and their coasts freed from programs of leisure. But in recent years, the exhaustion of people and landscapes has brought forth a renewed imperative to think outside this ubiquitous extractive industry. Through essays, pieces of fiction, and visual references, this book discusses both the difficulty and the necessity of disrupting the monocultural imaginations of tourism. To escape the devouring vortex of its sticky nature and messianic promises, the cultural and political work necessary is not only this of negation and resistance, but also that of bold re-conceptualizations and re-imaginings.

A collection of published and unpublished writings of the groundbreaking Chicana writer and self-described "chicana dyke-feminist, tejana patlache poet, writer and cultural theorist" Gloria Anzaldua.

Gloria Anzaldúa (1942-2004) was a visionary writer whose work was recognized with many honors, including the Before Columbus Foundation American Book Award, a Lambda literary award, the National Endowment for the Arts Fiction Award, and the Bode-Pearson Prize for Outstanding Contributions to American Studies. Her book Borderlands/La frontera was selected as one of the 100 Best Books of the Century by Hungry Mind Review and the Utne Reader. AnaLouise Keating, Professor of Women's Studies at Texas Woman's University, is the author of Women Reading, Women Writing: Self-Invention in Paula Gunn Allen, Gloria Anzaldúa, and Audre Lorde; editor of Anzaldúa's Interviews/Entrevistas and EntreMundos/AmongWorlds: New Perspectives on Gloria Anzaldúa; and co-editor, with Anzaldúa, of this bridge we call home: radical visions for transformation.

AnaLouise Keating, Professor of Women's Studies at Texas Woman's University, is the author of Women Reading, Women Writing: Self-Invention in Paula Gunn Allen, Gloria Anzaldúa, and Audre Lorde; editor of Anzaldúa's Interviews/Entrevistas and EntreMundos/AmongWorlds: New Perspectives on Gloria Anzaldúa; and co-editor, with Anzaldúa, of this bridge we call home: radical visions for transformation.

A generative, genre-bending collection of nineteen intertwined stories by legendary writer, theorist, and activist Gloria E. Anzaldúa.

Best known for Borderlands/La Frontera: The New Mestiza (1987), Gloria E. Anzaldúa was also a prolific fiction writer. Prieta Is Dreaming, a speculative novel-in-stories, follows the precocious Prieta from her childhood in South Texas to college and beyond as she tries to find her way in the world. Imbued with supernatural powers, Prieta traverses time, changes form, explores her desires, and defies convention. Started in the 1970s and revised up until Anzaldúa's death in 2004, Prieta Is Dreaming comes as a revelation, affirming Anzaldúa's place at the forefront of contemporary feminist, queer, and border theory, while transforming what we think about both her writing and ourselves. In these nineteen intertwined stories, we find some of Anzaldúa's most adventurous, inspired ideas about gender, sexuality, and the very nature of existence—as well as a character, la Prieta, as bold and memorable as the book itself.

Gloria E. Anzaldúa (1942–2004) was a poet, metaphysical philosopher, and scholar of Chicana cultural theory, feminist theory, and queer theory. Her books include Borderlands/La Frontera: The New Mestiza and Light in the Dark/Luz en lo oscuro: Rewriting Identity, Spirituality, Reality. She was coeditor, with Cherríe Moraga, of This Bridge Called My Back: Writings by Radical Women of Color, the 40th anniversary edition of which was also published by SUNY Press. Kelli D. Zaytoun is Professor of English Language and Literatures at Wright State University. She is the author of Shapeshifting Subjects: Gloria Anzaldúa's Naguala and Border Arte. AnaLouise Keating is Professor of Multicultural Women's and Gender Studies at Texas Woman's University. She is the author, editor, or coeditor of many books, including most recently The Anzaldúan Theory Handbook. Suzanne Bost is Professor and Chair of the Department of English at Loyola University, Chicago. She is the author of four monographs, the most recent being Quiet Methodologies: Humility in the Humanities.

A new edition of Anzaldúa's classic text.

Borderlands/La Frontera: The New Mestiza is a 1987 semi-autobiographical work by Gloria E. Anzaldúa that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism. Borderlands is considered to be Anzaldúa’s most well-known work and a pioneering piece of Chicana literature.

Rooted in Gloria Anzaldúa's experience as a Chicana, a lesbian, an activist, and a writer, the essays and poems in Borderlands/La Frontera: The New Mestiza profoundly challenged, and continue to challenge, how we think about identity. Borderlands/La Frontera remaps our understanding of what a border' is, presenting it not as a simple divide between here and there, us and them, but as a psychic, social, and cultural terrain that we inhabit, and that inhabits all of us.

Light in the Dark is the culmination of Gloria E. Anzaldua's mature thought and the most comprehensive presentation of her philosophy. Focusing on aesthetics, ontology, epistemology, and ethics, it contains several developments in her many important theoretical contributions.

The publication of The Right to Maim by Jasbir K. Puar in 2017 was critical to advancing studies on disability and to further articulating how the body figures in the nexus of capacity and debility across racializing and extractive neoliberal lines. It offered a complex and rigorous anti-capitalist account of disability that is useful to both scholarly work and political and social organizing. However, despite its paramount contribution to scholarship on Palestine, delivered by its scathing analysis of the Israeli biopolitical policy—its right to maim—in how the injured Palestinian body is produced and reproduced, its reception was difficult, and hard to stomach. It cohered a political logic in writing before it was visibly evident on the ground. In the moment and aftermath of the Great March of Return (2018-19), Puar’s offerings became much harder to ignore, as the event crystallized a mass maiming campaign of Palestinian protesters inside the edges of the militarized borders of Gaza.

The occasion of this publication by Bilna’es marks the first translation into Arabic of the chapter “Will Not Let Die”: Debilitation and Inhuman Biopolitics in Palestine, alongside the postscript of The Right to Maim. Not simply a reissue of previously published work or a translation, This Death is Not One includes a new preface from Jasbir K. Puar revisiting the right to maim from within this moment of genocide in Gaza that interrogates the new vectors of living and dying under settler-colonialism, and how maiming, in fact, speaks of extermination; an introduction by Nasser Abourahme reflecting on the book’s stakes in the present and its reception in the past, alongside searing analysis of genocide in excess of the law, and what this reveals and forecloses in how we understand the juridical body and militancy in the wake of Zionism; and original drawings by Xaytun Ennasr that inscribe a relation between land and body mapped through cosmological patterns tracing the relation between martyrs, who are referred to as moons, and the moon, a symbol for martyrdom in Palestine.

Jasbir K. Puar is Distinguished Faculty of Arts Professor in the Social Justice Institute at the University of British Columbia, Extraordinary Professor in the Women’s and Gender Studies Department at the University of the Western Cape in Cape Town, South Africa, and Professor Emerita at Rutgers University where she was faculty in the Women’s, Gender, and Sexuality Studies Department for 23 years. Puar is the author of the award-winning books: The Right to Maim: Debility, Capacity, Disability (2017), and Terrorist Assemblages: Homonationalism in Queer Times (2007).

Nasser Abourahme is a writer and teacher, and is currently assistant professor at Bowdoin College. He’s the author of The Time beneath the Concrete: Palestine between Camp and Colony (Duke University Press, 2025), which was awarded the 2025 Palestine Book Award.

Xaytun Ennasr is an artist and designer. She works across experimental video games, paintings, prints, ceramics, installations, and text. She often uses science fiction, folklore, and radical softness as affective tools for revolutionary cultural production, specifically Palestinian liberation and sovereignty. Her work often deals with questions of land, cartography, transness, gender, and the living environment.

Drawings by Xaytun Ennasr

Translation to Arabic:

“Living in Genocide” by Jasbir K. Puar, translated by The Archilogue

“Our names, our remains” by Nasser Abourahme, translated by The Archilogue

The Right to Maim, Chapter 4: “Will not let die: Debilitation and Inhuman Biopolitics in Palestine ” and the The Right to Maim Postscript by Jasbir K. Puar, translated by Bekriah Mawasi

Afghanistan is my father’s homeland. He was born in Kabul in 1945 and later moved first to France, then to Switzerland in the 1970s. In my mind, Afghanistan exists as a geography with blurred edges, something I feel the need to reconcile with. It’s a place I’ve only ever known through stories, a source of memories that, over time, have shifted and become distorted.

Contributors: Luca Cerizza, Farid Rahimi, Said Rahimi, Susanna Ravelli, Francesca Recchia, Zafar Sayan, and Dawood Tawana

Derrida’s essay “Aletheia” discusses the work of Japanese photographer Kishin Shinoyama. Reading Derrida, Rabaté investigates how, behind the classical concept of truth as a beautiful naked woman, Derrida argues that any photographic image tells the Truth, but a truth obscured as it comes to light: “nothing is more black than the visibility of light.” Staging a critical conversation with Roland Barthes’s theses in Camera Lucida and Paul Celan’s poems from Breathturn to Lightduress, Rabaté argues for a theoretical approach to truth that counters the prevailing truth-discourses of today. 

In this new collected edition of his recent articles, Simon Critchley - one of the most important living philosophers - takes us through his reflections on death, questions of doubt and reason, the legacy of David Bowie, the nature of fear and empathy in a broken society and a critique of narrative identity - among other things. YOUR LIFE IS NOT A STORY explores the contemporary world and its psychological impact on us, offering us a way to see our situation different and resist its tricks and contrivances.

Who decides what happens after sex? The last decade has seen many significant changes to the laws governing women’s reproductive rights around the world, from liberalisation in Ireland to new restrictions in the USA. After Sex offers personal and political perspectives from the mid-20th century to the present day, setting feminist classics alongside contemporary accounts. These essays, short stories and poems trace the debates and tell the stories; together, they ask us to consider what reproductive justice might look like, and how it could reshape sex.

The writers pay special attention to people — both fictional and real — who have sought control over their sexual lives, and the joy, comedy, difficulties and disappointments that entails. But above all, After Sex testifies to the power of great writing to show us why that freedom is worth pursuing — without shame and without apology.

With contributions from: 
Lauren Berlant, Joanna Biggs, Edna Bonhomme, Gwendolyn Brooks, Beverley Bryan, Stella Dadzie and Suzanne Scafe, Storm Cecile, Lucille Clifton, Rachel Connolly, T.L. Cowan, ’Jane Does’, Maggie Doherty, Nell Dunn, Andrea Dworkin, Anne Enright, Deborah Friedell, Tracy Fuad, Kristen Ghodsee, Vivian Gornick, Donna Haraway, bell hooks, Barbara Johnson, Jayne Kavanagh, Lisa Hallgarten and Angela Poulter, Jamaica Kincaid, Patricia Knight, R.O. Kwon, Ursula K. Le Guin, Natasha Lennard, Sophie Lewis, Audre Lorde, Amelia Loulli, Erin Maglaque, Holly Pester, Adrienne Rich, Denise Riley, Sally Rooney, Loretta J. Ross, Madeleine Schwartz, SisterSong, Sophie Smith, Annabel Sowemimo, Amia Srinivasan, Keeanga-Yamahtta Taylor, Judith Jarvis Thomson, Alice Walker and Bernard Williams.