UH HUH HER

It’s fall (or autumn) 2018. The Trump administration wants to fortify the United States-Mexico border, Robert ‘Beto’ O'Rourke is running for Senate, and British grifter Nicki Smith has just secured a “low-paid glamour job” at the University of Texas’ Jacques Lacan Foundation. In between sleeping with the air-conditioning repair guy (or man) and watching Kate Moss make-up commercials (or advertisements) Nicki completes the first ever American-English translation of Lacan’s newly discovered and highly controversial notebook – without knowing any French.

An Anglo-American comedy of manners about identity and class The Jacques Lacan Foundation reveals—and revels in—the numerous pretensions that surround academia and authorship, and the institutions that foster them.

Malory walks home after an ordinarily gruelling night out, having escaped the company of her associates. Something ripples in the darkness. The shape of a figure. So begins a chain of events with the texture of dream plasma. A story of persecution mania. Professional ignominy. A sudden disappearance. The terror of seeing oneself too clearly...

Part horror story, part tragicomic nightmare, Ghost Driver is a slim shudder of a novel about a woman who has taken every wrong turn available to her.

“I wrote (more or less, for promises are always hard to keep, even those made to oneself ) for five days a week for a year. I wrote no more than a page, or rather, I wrote only for the length of the analytic hour, fifty minutes (though I also practiced the variable session at times)… I followed Freud’s model of train travel for his theory of free association, acting ‘as though, for instance, [you were] a traveller sitting next to the window of a railway carriage and describing to someone inside the carriage the changing views which [you] see outside’. As for my characters, many of their names begin with A. Some of these women exist or existed, others are from fiction, or write fiction. Some are friends or acquaintances. None are credited but a keen reader could recognise many of them. I invented nothing. I am the aleph.”

Know Thy Audience, Nadia de Vries’ third poetry collection, disavows the platitude from which it takes its name and makes the reader complicit in both her aggression and her submission, sparked by a history of domestic abuse that escapes all euphemism and metaphor – but not poetry altogether.

Speaking—or rather, singing—as a ‘battered woman’ from a working-class neighborhood, De Vries’ aphoristic writing belies a vengeful reversal of roles in which the author—and not her perpetrator—pulls the strings. Who is the victim in these poems? Can violence be redeemed through esthetic metamorphosis? Or can powerlessness only be transferred as fetish? Know Thy Audience investigates the extent to which a victim can share their wounds, and to what degree an audience can—sensibly, ethically—be burdened with painful knowledge.

Shae wants to stop shagging other women's husbands and be a proper queer. Plus, she's bored of only ever getting to use her new strap on a pile of cushions. The answer seems simple enough: come out, go out, and finally get it on with the fit bird at Dyke Night. Or it would be if Evaline, a wayward silicone mistress from the future, wasn't jealous...

A surreal, dirty little book that falls somewhere between Derek McCormack, David Cronenberg, and the tentacle porn you 'accidentally downloaded', Silicone God is for those who like it very, very weird.

Responses to Untitled (eye with comet) (c.1985) by Paul Thek is the sixth and final anthology in a series that gathered responses to works of art made during a period of the ongoing AIDS Crisis, from the identification of the virus in 1981 to the introduction of life-saving drugs in 1996.  

In this sixth iteration, responses were sought to the painting Untitled (eye with comet) by Paul Thek. The work was found in his storage after his death from AIDS in 1988. 

List of contributors in order of appearance:

E.R. De Siqueira
Ben Estes
João Motta Guedes
Lucy Swan
Jon Rainford
Louis Shankar
Amy Evans Bauer
Hattie Morrison
Sammy Paloma
AN Grace
James Horton
Nick Wood
Sophie Paul
Jae Vail
Elizabeth Zvonar
Lars Meijer
Clay AD
Michel Kessler
Pablo Miguel Martínez
Emma Harris
Dylan McNulty-Holmes
Kitya Mark
Katherine Franco
Ainslie Templeton
Alistair McCartney
John Brooks
Jesse Howarth
jimmy cooper
Felix Pilgrim
Nicholas Chittenden Morgan
Murphy O’Neir
Rachel Cattle
Isabel Nolan
Susan Finlay
Ted Simonds
Brooke Palmieri
Kate Morgan
Ashleigh A. Allen
Diogo Gama
JP Seabright
Hugo Hagger
Amanda Kraley
Brendan Cook
Matt Bailey
Charlotte Flint
Rodney Schreiner
Lucy Price
Morgan Melhuish
Jordan Weitzman
Jaakko Pallasvuo
Alex Fiorentino
Harald Smart
Marguerite Carson
loll jung
Richard Porter
Nicholas Kalinoski
Hedi El Kholti
Edmund Francis English
Ted Bonin

In a forgotten patch of French countryside, a woman is battling her demons embracing exclusion yet wanting to belong, craving freedom whilst feeling trapped, yearning for family life but at the same time wanting to burn the entire house down. Given surprising leeway by her family for her increasingly erratic behaviour, she nevertheless feels ever more stifled and repressed. Motherhood, womanhood, the banality of love, the terrors of desire, the inexplicable brutality of another person carrying your heart forever Die, My Love faces all this with a raw intensity. It s not a question of if a breaking point will be reached, but rather when and how violent a form will it take?

A manic, bruising stream of conscious portrayal of a mother and wife struggling to maintain both a normal life and her sanity.

Compared to Nathalie Sarraute and Virginia Woolf, Ariana Harwicz is one of the most radical figures in contemporary Argentinian literature. Her prose is characterised by its violence, eroticism, irony and criticism of the clichés surrounding the notions of the family and conventional relationships. Born in Buenos Aires in 1977, Harwicz studied screenwriting and drama in Argentina, and earned a degree in Performing Arts from the University of Paris VII as well as a Master's in comparative literature from the Sorbonne. She has taught screenwriting and written plays, which have been staged in Buenos Aires. Feebleminded (which has also been adapted for the stage in Argentina and Spain) is her second novel and a sequel in an 'involuntary' trilogy, preceded by Die, My Love (Charco Press, 2017) and followed by Precocious. Her fourth novel, Degenerate comes out in June 2019. Die, My Love was longlisted for the Man Booker International Prize (2018) and shortlisted for the Republic of Consciousness Prize (2018). It has been translated into more than ten languages.

Inspired by visionaries like Moses, William Blake, and Joseph Smith, Bellamy spent five months in 2009 receiving transmissions from her television set and writing brief commentaries on each. The sutras and commentaries in the present volume are the beginning of an intensive investigation into the nature of religious experience. What are cults? Are they limited to wacko marginal communities, or do we enter one every time we go to work or step into a polling place? What is charisma and why are we addicted to it? Bellamy speaks candidly and intimately to her own experience as a woman, a writer, and former cult member. This commingling of memoir, fiction, collage and essay makes room for horny gurus, visitors from outer space, the tenderness of group life, and maybe the beginnings of a hard-won individualism.