(Salty Wet)

The collected run of the groundbreaking and iconoclastic zine. 

From 1977 to 1979, Search & Destroy chronicled the birth of San Francisco's punk scene with an intensity and vision that transformed music journalism. Now, for the first time, every issue of this seminal publication has been collected and meticulously restored in one definitive volume. 

Launched with a $100 loan from Allen Ginsberg and Lawrence Ferlinghetti, Search & Destroy was the nerve center of West Coast punk culture. V. Vale and his motley cast of contributors struck a new form of guerrilla journalism with an aesthetic and attitude that was as raw and uncompromising as the music itself. 

Search & Destroy: The Complete Archive captures the texture and tension of a scene in flux through stark photography, radical design, and unfiltered interviews with legends such as William S. Burroughs, Throbbing Gristle, the Dead Kennedys, Suicide, and Negative Trend. This collected edition also features retrospective writing on the legacy of Search & Destroy, its influence on design and culture, and V. Vale's work as a publisher, researcher, and archivist.

V. Vale is an American editor, writer, interviewer, musician and SF Bay legend. He is the publisher and primary contributor to books and magazines published by his company, RE/Search Publications.

Cecily Chen is a writer and translator from Beijing, China. She is currently completing her PhD in English at the University of Chicago, where she writes about the “minor archive” of Asian American experimentalism, Marxist aesthetics, and gender and sexuality. You can find her writing at The Poetry Project, Entropy, and the tiny. She also edits poetry for Chicago Review.

Mitch Anzuoni is the founding editor of Inpatient Press and its translation imprint, Mercurial Editions. His writing has appeared in Harper's and Rhizome.

In the 2090s, Earth is somehow still here. Drones and clones are big business and Henries Ickles, debonair New Los Angeles infoarchitect, wants in on the action. Metaphysical theories are put into practice, invisible art is critiqued, quasicrystals are crafted, yogurt is spilled. From diplomatic misadventures with metallic herds in RealSweden to an underwater rendezvous in the free domes of MiamiVII, Ickles, ad Infinitum is a compendium of the exuberant and the abject, a refracted hologram of the absurdities of cultural production that swerves between incisive ode and knowing lampoon.

Mark von Schlegell has been pushing the envelope with independently-published experimental fiction and theory since the 1990s. He was born in New York, moved to L.A. in 2000, and currently lives in Cologne. His first novel, Venusia (Semiotext(e), 2005) was honor's listed for the Otherwise Award in Science Fiction.

Before making his first films in the 1950s, Chris Marker was a regular contributor to the Paris-based magazine Esprit from 1946 to 1952. Unbound by genre or form, Marker's pieces range from short stories, essays, poems, and reviews to fabricated reportage and invented news affairs, all gemmed with the hallmarks of his style: a blurring of reality and imagination, a wry sense of humor, a sustained political engagement, and, of course, a limitless curiosity for animal life.

Eternal current events marks the first time these exemplary works are available in English, published in an adapted facsimile of the original periodical. In these short selections, what one encounters is less a past life before his turn toward cinema than a preamble to his celebrated body of work. Moving images did not replace Marker’s production as a writer but were incorporated into it. Before the “imaginary films” there were “imaginary current events”; before the travels through time in La Jetée there was a bulletin rethinking the psychogeography of the around-the-world trip; and before the musings on a Japanese temple consecrated to cats in Sans Soleil, there was a summary report on the theological implications of the 1952 Parisian Cat Fair. Marker did not just begin his career as a writer, he remained one throughout his life.

The Queen’s Ball ingests taboo as fuel for a baroque and spiraling story of love in its most prismatic and absurd iterations. Through frightening distortions and hallucinogenic twists of fate, a demented circus of artists, writers, gender-hustling aesthetes, and religious fanatics collude in a glorious discombobulation of propriety and convention. I have never laughed this much at a novel that could somehow shock even the most irreverent of libertines, demanding, at times, absolute disgust. Truly nasty work. Iconic. —Juliana Huxtable

Translated by Kit Schluter
Afterword and notes by Thibaud Croisy, translated by Olivia Baes

Set among the flamboyant demi-monde of the 1970s Paris underground, The Queens’ Ball follows the narrator Copi in his attempt to write a novel as life comes undone around him. His Roman lover Pietro is stolen by a Marilyn Monroe impersonator whose coterie take up residence in Copi’s flat and pump out low-budget pornographic rags and films. His friends leave him, burnt out from the theatrical excess of the decade. And worst of all his editor keeps calling him, demanding to know where the book is. Propelled by Copi’s careening prose and incisive humor, The Queens’ Ball swerves from Paris to Ibiza to New York and back again in a whirlwind frenzy of love, loss, and madness. Featuring an illuminating critical appendix by Copi’s current French editor, Thibaud Croisy, Kit Schluter’s rhapsodic translation marks the début of Copi’s world-renowned fiction in English.

The Queen’s Ball is a heedless novel of transformation of bodies and tenses, a novel of enormity and loss which is, in the end, about writing a novel. Copi is a feckless romantic-his theme is the persistence of love in the phantasmagoria. His tender psychos hurtle through increasingly outré adventures that seem to expand and contract like accordions. Here is crime à la française. Here is a great queen’s verbal aggression, radiant detail, and joyous destructive energy. —Robert Glück

The Queens’ Ball is probably Copi’s masterpiece... By 1978, Copi was already an aesthetic: The Queens’ Ball was the magnet, the inverted whirlpool that brought that aesthetic to the surface. —César Aira

The involuntary whispering of the dew-harvest.

A grimoire carved in scarlet, SALAMANDER'S WOOL is the inaugural full-length collection of writing by V Manuscript, amalgamating a vast array of arcane rituals into an ensorcelling poetic corpus. To read SALAMANDER'S WOOL is to consort with spirits and scry with dæmons, a linguistic alchemy which transmutes both language and reader.

V Manuscript is a poet and scriptomancer living in New York City.

A beautiful compilation of poems, stories, essays, talks, and illustrations by Ursula K. Le Guin. Edited and designed by Conner Bouchard-Roberts. 

With additional essays on Le Guin's thinking and craft by: adrienne maree brown, Isabelle Stengers, Moe Bowstern, Lola Milholland, Nisi Shawl, David Naimon, Mary Anne Mohanraj, Margaret Killjoy, Julie Phillips, and Harold Bloom.

This book serves as the companion publication to a gallery exhibition, of the same name, about Ursula’s life and work, showing at Oregon Contemporary Museum (from Nov 1st 2025 - Feb 8th 2026 in Portland, OR) curated by the Author’s son, Theo Downes-Le Guin.

A take away cup and a cloud is an essay written alongside the dance performance Seems to be by Denise Lim and Stina Ehn. It plays with a variety of containers–the list form being one. By mixing a personal with a historical gaze it traces the trajectory of mundane commodities and  the replacement of material with imaterial objects brought about to the everyday by technical progress. 

Collected writings, artworks and manifestos outlining the developments in Indigenous cinema and its most adventurous practitioners. 

Founded in 2018, COUSIN Collective is dedicated to promoting Indigenous artists working with the moving image. Temporal Territories is the collective's critical anthology on Indigenous experimental cinema, bringing together new works, reprints of key writings, theoretical interventions, artist portfolios, intergenerational dialogues and manifestos. With topics ranging from science fiction to found-footage filmmaking to the strange case of the DeMille Indians, the volume surveys a varied and vital body of work, and suggests new forms still to come.

As COUSIN writes in their introduction, "We hope this collection can be something like a celebration, a point along your path that fosters conversations and connections. ...There are no rules to this thing, and you are not alone."

Contributors include: Raven Chacon, Colectivo Los Ingrávidos, Lou Cornum, Grace Dillon, Guillermo Gómez-Peña, Miguel Hilari, Sky Hopinka, Kite, Adam Khalil, Zack Khalil, Pedro Neves Marques, Fox Maxy, Michael Metzger, Jas M. Morgan, Caroline Monnet, Shelley Niro, Adam Piron, Tiare Ribeaux, Diana Flores Ruíz, Walter Scott, Girish Shambu, Paul Chaat Smith, Adam Spry, Elizabeth Weatherford.

This book was published in conjunction with COUSIN Collective.