Witches, Midwives, & Nurses: A History of Women Healers

A new epic novel about a teenage queer runaway from cult classic author of Black Wave and Valencia Michelle Tea. A Literary Hub Notable Small Press Book of 2025.

In Spencer's fantasies, the breezy, queer streets of Provincetown, MA, are utopia, a place where he can be free. Yet when a violent attack in his suburban Arizona schoolyard sends him to the hospital, he decides queer utopia can't wait. And one night, with the help of his best friend, the teenage witch Joy, he hitches a ride to find it.

The cross-country road odyssey that follows brings Spencer from new moon rituals in Arizona canyons to Texas bus stations, from the luxe drag stages of Houston's Montrose district to the jazz-soaked streets of the French Quarter and beyond. This new novel from Michelle Tea tells the story, by turns raw, romantic, and sweet, of a sheltered boy taking his first leap into queer life, among all the complicated queers who live it.

"Tea's conversational tone and her way of writing deeply personal experience . . . presents a very necessary counter-narrative to mainstream histories of American punk, feminism, and sexual identity." – The Brooklyn Rail

Michelle Tea is the author of over twenty books of fiction, memoir, poetry and children's literature. Her autofiction Valencia, a cult classic, won the Lambda Literary Award for Best Fiction. Her essay collection Against Memoir was awarded the PEN/Diamonstein-Spielvogel Award for The Art of the Essay. Tea is also the recipient of awards from the Rona Jaffe Foundation and the Guggenheim Foundation. The founder of Drag Queen Story Hour, she has received honors from the American Library Association and Logo Television. Tea curated the Sister Spit Books series at City Lights Publishers and founded the ongoing imprint Amethyst Edition at the Feminist Press.

An intrepid, galvanizing meditation on illness, disability, feminism, and what it means to be alive.

In 1995 Alice’s mother collapsed with pneumonia. She never fully recovered and was eventually diagnosed with ME, or Chronic Fatigue Syndrome. Then Alice got ill. Their symptoms mirrored their mother’s and appeared to have no physical cause; they received the same diagnosis a few years later. Ill Feelings blends memoir, medical history, biography and literary nonfiction to uncover both of their case histories, and branches out into the records of ill health that women have written about in diaries and letters.

Their cast of characters includes Virginia Woolf and Alice James, the poets Elizabeth Barrett Browning and Emily Dickinson, John Ruskin’s lost love Rose la Touche, the artist Louise Bourgeois and the nurse Florence Nightingale.

A dirty cult-classic put out in a small batch by an underground publisher (Rudos and Rubes) in 2015, Johnny Would You Love Me If My Dick Were Bigger recounts the life of an artist and "old school homosexual" who bears a big resemblance to author Brontez Purnell.

Our hero doesn't trust the new breed of fags taking over San Francisco, though. They wear bicycle helmets, seat belts, and condoms. Meanwhile, he sabotages his relationships, hallucinating affection while cruising in late night parks, bath-houses, and other nooks and crannies of a newly-conservative, ruined city.

Furiously original, vital, and messy, this funny "non-memoir" uncovers a revelatory truth for the age: there are things far scarier than HIV.

From award-winning writer Sarah Schulman, a longtime social activist and outspoken critic of the Israeli war on Gaza, comes a brilliant examination of the inherent psychological and social challenges to solidarity movements, and what that means for the future. 

For those who seek to combat injustice, solidarity with the oppressed is one of the highest ideals, yet it does not come without complication. In this searing yet uplifting book, award-winning writer and cultural critic Sarah Schulman delves into the intricate and often misunderstood concept of solidarity to provide a new vision for what it means to engage in this work—and why it matters. 

To grapple with solidarity, Schulman writes, we must recognize its inherent fantasies. Those being oppressed dream of relief, that a bystander will intervene though it may not seem to be in their immediate interest to do so, and that the oppressor will be called out and punished. Those standing in solidarity with the oppressed are occluded by a different fantasy: that their intervention is effective, that it will not cost them, and that they will be rewarded with friendship and thanks. Neither is always the case, and yet in order to realize our full potential as human beings in relation with others, we must continue to pursue action towards these shared goals. 

Within this framework, Schulman examines a range of case studies, from the fight for abortion rights in post-Franco Spain, to NYC’s AIDS activism in the 1990s, to the current wave of campus protest movements against Israel’s war on Gaza, and her own experience growing up as a queer female artist in male dominated culture industries. Drawing parallels between queer, Palestinian, feminist, and artistic struggles for justice, Schulman challenges the traditional notion of solidarity as a simple union of equals, arguing that in today’s world of globalized power structures, true solidarity requires the collaboration of bystanders and conflicted perpetrators with the excluded and oppressed. That action comes at a cost, and is not always effective. And yet without it we sentence ourselves to a world without progressive change towards visions of liberation. 

By turns challenging, inspiring, pragmatic, and poetic, The Fantasy and Necessity of Solidarity provides a much-needed path for how we can work together to create a more just, more equitable present and future.

Things Bigger Than What Can Be Seen is a collection of Oraib Toukan’s essays, translated to Arabic for the first time. In close dialogue with Palestinian pedagogue Munir Fasheh on the topic of turbeh (local soil in Arabic), Toukan crafts a haptic perspective on images from what she terms their ‘soil grain’.

Pour les révolutionnaires des deux derniers siècles, l’accumulation du capital devait unifier la classe ouvrière sous la bannière du sujet révolutionnaire. Le mouvement ainsi né était appelé à renverser la société de classes et les clivages divisant les prolétaires. Mais le mouvement de la valeur a finalement triomphé, pour donner naissance à la société de la séparation. L’atomisation a pris le pas sur les puissances du rassemblement. La civilisation du capital traverse aujourd’hui une crise sans fin, mais les forces capables de la défaire brillent par leur absence.

Ces textes tirés de la revue Endnotes, réunis pour la première fois en français, dessinent la carte d’un présent ponctué de paysages désindustrialisés, de centres logistiques et de bidonvilles où s’entassent les populations rejetées aux marges de l’accumulation – autant de coordonnées nécessaires pour continuer à penser le dépassement du capitalisme : une fois encore, reprendre le chantier de l’hypothèse communiste.

Endnotes est une revue théorique communiste produite par un groupe de discussion du même nom basé en Grande-Bretagne et aux États-Unis.

Traduction: Pablo Arnaud
Préface: Aaron Benanav Et John Clegg

Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion, told through a decade of artistic and activist practice. The writing is a mode of recovery, it is pre-content shared to encourage open processes in art, thinking and action.

Georgia Sagri (born Athens, 1979) lives and works in Athens and New York. Her practice is influenced by her ongoing engagement in political movements and struggles on issues of autonomy, empowerment and self-organisation. From 1997 to 2001 she was a member of Void Network, a cultural, political and philosophical collective operating in Athens. In 2011 she was one of the main organisers of the Occupy Wall Street movement in New York. Since 2013 she has been a member of the assembly of the Embros Theatre Occupation, and in 2014 she initiated Ύλη[matter]HYLE, a semi-public cultural space in the heart of Athens. She is professor of performance at the Athens School of Fine Arts.