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Cover of Why Do Hoodie Strings Taste So Good?

Self-Published

Why Do Hoodie Strings Taste So Good?

Ignacy Radtke

€35.00

This text is an attempt to explain the importance of comfort regulation, through sensory stimulation. Whether that be from fidgeting, through masturbation to cuddling and other activities. This thesis is about self-regulation and the objects which visualise that need. From the Freudian psychoanalysis idea of child development through transitional objects introduced by Donald Winnicot to Dakimakura phenomena in otaku culture in a Japanese society that seeks closeness to cute pastelle vibrators which are overflowing the sex toys market. The attempt to answer this question: “Why do hoodie strings taste so good?” seeks to answer the overarching need for constant adjustment to the environment we live in.

I’m intrigued by the need for biting, sucking, and tapping random objects. The fidgeting era is here! We are overwhelmed by all kinds of spinners, popping toys, anti-stress devices, dopamine booster, etc. What is it all about and why have fidget spinners became such a hype in the recent years? Have you ever considered why your hoodie strings taste so good? Have you caught yourself while compulsively sucking them in the metro or at the bus stop? This thesis will endeavour to answer these questions. The answer might be much easier and more pragmatic than we think. In contradiction to my deep analysis in the following sections, one of the reddit users wrote in response to the above question: Why do hoodie strings taste so good?

“Just don’t do it! After sucking them a few times, they become bacteria factories/colonies, so taste (and probably smell) evolves over time. Don’t suck and chew them!! They do, however, work as good, reachable things to practise finger dexterity – to tie knots into and practice rope binding”

Published in 2023 ┊ Language: English

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Cover of touxs mes queers sont des poéte·sses

Self-Published

touxs mes queers sont des poéte·sses

saël teukam tamo

Poetry €8.00

Car archiver nos écrits et nos paroles n'a jamais été aussi important, car il faut rendre compte de nos existences, de ce moment, pour nous et pour les futurs queers en recherche de repères oui, nous avons écrit, donc oui vous pourrez écrire aussi ! oui, nous avons existé, donc oui, vous existerez aussi ! car oui, nous sommes toustes poéte·sses ! car nos vies sont des poèmes et être queer est de la poésie car touxs mes queers sont des poéte·sses! 

Because preserving our writings and our words has never been more important, because we must bear witness to our lives, to this moment, for ourselves and for future queers in search of guidance yes, we have written, so yes, you can write too! yes, we have existed, so yes, you will exist too! because yes, we are all poets! because our lives are poems and being queer is poetry because all my queers are poets!

Cover of chop: a collection of kwansabas for fannie lou hamer

Self-Published

chop: a collection of kwansabas for fannie lou hamer

treasure shields redmond

Poetry €12.00

chop is a collection of poems that center on the life and work of proto-feminist and civil rights activist, Fannie Lou Hamer.

A Mississippi native, Treasure Shields Redmond is a poet, speaker, diversity and inclusion coach, and social justice educator. In 2016 she founded her company, Feminine Pronoun Consultants, LLC. Even though Treasure is completing a PhD in English Literature and Criticism, is a published writer, gifted veteran educator, and has spoken on stages all over the U.S. and in Europe, she uses her humble beginnings in the federal housing projects in Meridian, Mississippi to fuel her passion for helping college-bound families navigate college admissions painlessly and pro tably, and o ering perceptive leaders creative diversity and inclusion facilitation. Additional information on her poetry, writing, and multidimensional practice are available at: www.FemininePronoun.com.

Cover of Swamp, City, Forest

Self-Published

Swamp, City, Forest

Valentina Bianchi

Zines €7.00

This zine is the result of the research residency "Plotting with the archive" that took place at Komplot between September 2025 and January 2026. The publication contains a subjective timeline of Komplot — its strategies, relations and projects — with the aim of organising them and at the same time speculating on possible future developments. The material was produced during a collective workshop in which the archive was explored and activated.

Cover of I am Welton Santos.

Self-Published

I am Welton Santos.

Sofia Caesar

I am Welton Santos reenacts a dialogue between the Brazilian geo-bio-architect Welton Santos and an Interviewer. The book, which is always read collectively, is used in reading performances by groups of at least 3 people.

Printed on the occasion of an artist residency at PAV, Parco d’Arte Vivente, Turin, July 2016. Texts based on transcripts of interviews with Welton Santos.

Cover of Hechtmappen bieden geen soelaas

Self-Published

Hechtmappen bieden geen soelaas

Tato Greve

Poetry €18.00

Hechtmappen bieden geen soelaas is wat overbleef na een vakantiejob waarbij de taakinhoud vooral bestond uit het verwijderen van nietjes uit verouderde documenten. Deze weken waren de bron voor fascinaties voor ongemakkelijke stiltes, gesprekken in liften, de diefstal van fluorescerende pennen en een ontplofte ventilator. 

Cover of Retail Vérité

San Serriffe

Retail Vérité

A Maior

Fiction €14.00

Once upon a time there was a shopping center just off Dam Square, a stone’s throw from the Madame Tussauds, not far from Primark, two streets across De Bijenkorf overshadowing the Magna Plaza, and just a couple doors down the Royal Palace in the middle of Amsterdam. It was the place where drag queen Tuu Lipa performed and Yeung sold eau de car engine oil. It was also where Mr. R looked for his human lover, where Inez became a millionaire, and where Yahoo launched its metaverse. “Welcome to the YAniverse,” greeted the Yahoo assistant…

Retail Vérité is the outcome of writing workshops organized by A Maior at San Serriffe. Through a blend of improvisation, larping and speed dating, the participants sketched characters and dialogues on-site.
This cohort featured Anouk Asselineau, Alva Bücking, Katherina Gorodynska, Chieri Higa, SeungJi Jo, Simon Marsiglia, Christina Ntanovasili, Young Eun Park, Ignacy Radtke, Matthew Senkowycz, Maja Simisic, Mehmet Süzgün, Simone Wegman, Bruno Zhu and others.

A Maior is a clothing and home goods store located in the outskirts of Viseu, Portugal. Since 2016, an eponymous exhibition program has taken place within the shopping environment. A Maior is managed by the staff, the artist Bruno Zhu and his family. A Maior has been featured in exhibitions at Melly, Rotterdam; Frans Hals Museum, Haarlem; Kunsthalle Freeport, Porto; X Museum, Beijing; Life Sport and BQ, both Berlin. In 2022, A Maior was the writer-in-residence at San Serriffe in Amsterdam, who commissioned Retail Verité, A Maior’s first novella.

With A Maior, Anouk Asselineau, Alva Bücking, Katherina Gorodynska, Chieri Higa, SeungJi Jo, Simon Marsiglia, Christina Ntanovasili, Young Eun Park, Ignacy Radtke, Matthew Senkowycz, Maja Simisic, Mehmet Süzgün, Simone Wegman, Bruno Zhu.
Designed by Elisabeth Klement

Cover of Great is the Power of the Name

Forlaget Emancipa(t/ss)ionsfrugten

Great is the Power of the Name

Signe Frederiksen, Anne-Mette Schultz

Great is the Power of the Name considers the works of authors Elena Ferrante, Pauline Reáge, Karl Ove Knausgård, Colette and artist Lee Lozano

In 2016, when Anne-Mette had invited Signe to take on the role as editor of her text The Institute of Applied Speech, they both began reading Elena Ferrante's The Neapolitan Novels. They were specifically fascinated by the author’s use of pseudonym. Anne-Mette's Institute of Applied Speech was a tale of a fictive place, a pseudo-topos, and Elena Ferrante’s ideas about the pseudonym as a space for the writing itself was useful in thinking about fictive authorship. In a number of written interviews, Elena Ferrante unfolds the feminist perspective of her use of pseudonym. They were attracted by the idea that the author could avoid the biographical question; that she could disappear behind her own writing. 

To them, the artist Lee Lozano is the ghostly presence of hard-core moralist and humorous fuck-off art from another decade. During the course of her life, Lozano continuously reconfigured and gradually dissolved her own name, starting from Leonore Knaster ending up with E. Her work Boycott Women, in which she decides not to have any contact with women, expands the notion of feminist critique. 

Great is the Power of the Name publishes a readership interested in the position of the artist, and how it conditions the way we make art.

Cover of Crassiers, une chronologie des luttes stéphanoises

Aurore Press

Crassiers, une chronologie des luttes stéphanoises

Thomas Goumarre

"Ces deux collines jumelles sont pour moi des contre-monuments : un héritage industriel délaissé, en friche, conservant une puissance symbolique et politique. Les messages et les crassiers sont indissociables." 

La première partie de cette édition est une collecte d'images intégrant des messages sur les crassiers (1948-2024). Ces images ont été récupérées principalement sur internet, complétées par un appel à collecte public sur les réseaux sociaux, ainsi que par la distribution de flyers et le collage d'affiches. Les images sont rassemblées chronologiquement et chaque message est recontextualisé dans son événement politique. La seconde partie présente les crassiers jumeaux en croisant plusieurs perspectives ; historique, géologique, urbaine, écologique et politique. Enfin je définis les crassiers en tant qu'outils et supports tactiques d'affichage public. Ce travail a abouti à cette première impression en janvier 2025. 

Cette édition continuera à se développer au fil du temps grâce à des rééditions régulières, intégrant des messages découverts ou récemment apparus.