Fiction

Originally written as letters from enclosure, In the Jungle There Is Much to Do came out of the words and drawings sent by Mauricio Gatti, a young anarchist, to his three-year-old daughter, while he was imprisoned in military barracks in Montevideo. In 1972 the compiled letters were made into a book published by his comrades from the commune Comunidad del Sur. It tells the story of an elephant, a snail, a turtle, a seal, and a bird. They are all trapped by a hunter, who understands nothing of the jungle and who locks them up in the city zoo, where they miss their home and little ones. This fable for all ages about political prison was republished by different small organizations associated with the international solidarity movement supporting Latin American political refugees in the 1970s and 1980s.

Among these editions was a coloring book published in the GDR, which we used as a basis for a new German edition. The original text by Gatti was translated into English for the first time. Both language editions were published by the 11th Berlin Biennale in the fall of 2019. The curatorial team of the Berlin Biennale has decided to make these publications freely accessible on the website. The book is available for download and print-out, and a special black-and-white version has been created for free coloring.

The early writings of renowned poet and critical theorist Jackie Wang, drawn from her early zines, indie-lit crit, and prolific early 2000s blog. 

Compiled as a field guide, travelogue, essay collection, and weather report, Alien Daughters Walk into the Sun traces Jackie Wang's trajectory from hard femme to Harvard, from dumpster dives and highway bike rides to dropping out of an MFA program, becoming a National Book Award finalist, and writing her trenchant book Carceral Capitalism. Alien Daughters charts the dream-seeking misadventures of an "odd girl" from Florida who emerged from punk houses and early Tumblr to become the powerful writer she is today. Anarchic and beautifully personal, Alien Daughters is a strange intellectual autobiography that demonstrates Wang's singular self-education: an early life lived where every day and every written word began like the Tarot's Fool, with a leap of faith.

Here, in a work of trans pessimism, amy etherington asks what love and grief mean in a world that wants you dead. Speaking to a structural, architectural violence, I love you forever is murder imagines transness as an exit, which then implies a reentry. Understanding love and grief as inextricably entangled, etherington examines how trans people are often met with grief by those who claim they love them.

Part break-up text, part grief-oriented trans theory, part whispering, pricking, ghostly presence-from-beyond-the-grave, etherington calls upon Lacan through Edelman, Freud, Derrida, and the voices of friends, writing with an aching warmth and confessional intimacy that seeks to live, write, go on, after your own passing.

About the Author
amy etherington is an educator–researcher–writer, exploring grief, death and transness and how they sit by the edges of things. Her writing feels through/with a pessimism that there might only be no place for transexuals in this World, itself an imagining wrought from our violent unmaking. Her teaching work seeks ways to resist the institution a little longer from within its grounds, through collaborative investigation of care and caring practices with students. @amy.ether

About a Series of Attempts:
This new series published by Sticky Fingers Publishing explores the essay form through the etymological root of essay: to try, trial or attempt. In 1508, French theorist Michel de Montaigne published a collection of 107 texts called Essais, described by his contemporaries as ‘self-indulgent and embarrassingly confessional.’ It is through these roots we find the attitude and intentions at the heart of this series; that through thinking together, through trying to figure it out on the page, we can reach new and increasingly nuanced ways to understand each other and the worlds we inhabit.

Sticky Fingers Publishing is an intra-dependant press based in London. We are a feminist, queer, disabled-led publisher producing work at the intersection of design, academia, art, visual culture and performance.

Tenth and final FDBN...* publication.

Featuring zack mennell, Biogal, James Sunderland, Fiona Glen, Jessie McLaughlin, Dan Schapiro, A Lyons, Stephanie Lones, Julian Konuk and Ioulitta Triantafyllou.

Guest edited by amy etherington.

Risograph and Thermography cover with flourecent green sticker black and white inners throughout.

*Fragile-Disorienting-Breakable-Naive-Hesitant-Loving-Lusting-Leaking-Trembling-Terrifying-Fucking-Mourning

The first novel by Swiss artist and writer Johana Blanc: haunted by woman figures having voluntarily ended their artistic career in the early 70', and fascinated by their radicality, a young artist asks herself how to carry on with her artistic practice without betraying her idols. Over the course of one evening, during which she attends a series of openings, the story follows her attempt to find her position among a fantasized art world, caught between a paradoxical reality and thwarted ambitions.

Johana Blanc (born 1990 in Paris), a graduate of the Head in Geneva, directs several micro-publishing projects such as the magazine Escalier and Éditions Cacahuète. Her artistic practices include installation and performance art. She also writes and has published several texts, whether collaboratively or not (Wages For Wages Against, Woman Cave).

A moving story about love, AIDS, grief, and memory by one of the most adventurous writers to come out of San Francisco's LGBTQ+ scene.

Bob Glück met Ed Aulerich-Sugai in 1970. Ed was an aspiring artist; Bob wanted to write. They were young men in San Francisco at the high tide of sexual liberation and soon, and for eight years, they were lovers, after which they were friends. Ed was an explorer in the realms of sex. He was beautiful, fragile, exasperating, serious, unassuaged. In 1994 he died of HIV. His dream notebooks became a touchstone for this book, which Glück has been working on for some two decades, while also making his name as a proponent of New Narrative writing and as one of America's most unusual, venturesome, and lyrical authors. About Ed is about Ed, who remains, as our dead do, both familiar and unknowable, faraway and close. It is about Bob too.

The book is a hybrid, at once fiction and fact, like memory, and it takes in many things through tales of political activism and domestic comedy and fury to questions of art and love and experiences of longing and horror. The book also shifts in register, from the delicate to the analytic, to funny and explicit and heartbroken. It begins in the San Francisco of the early 1980s, when Ed and Bob have been broken up for a while. aIds is spreading, but Ed has yet to receive his diagnosis. It follows him backward through his life with Bob in the 1970s and forward through the harrowing particulars of death. It holds on to him and explores his art. It ends in his dreams.

"It's the best one," Clarice Lispector remarked on the occasion of the publication of The Apple in the Dark: "I can't define it, how it is, I can only say that it's much better constructed than the previous ones."

A book in three chapters, with three central characters, The Apple in the Dark is in fact highly sculpted, while being chiefly a metaphysical book, and in this stunning new translation, the novel's mysteries and allegories glow with a fresh scintillating light.

Martim, fleeing from a murder he believes he committed, plunges into the dark nocturnal jungle: stumbling along, in a state of both fear and wonder, eventually he comes to a remote, quiet ranch and finds work with the two women who own it. The women are tranquil enough before his arrival, but are affected by his radical mystery. Soaked through with Martim's inner night (his soul is in the darkness where everything is created), the novel vibrates with his perpetual searching state of vigil. Often he feels close to an epiphany: "for the first time he was present in the moment in which whatever is happening is happening." Yet such flashes flicker out, so he's ever on the watch for "life to take on the dimensions of a destiny."

In an interview, Lispector once said: "I am Martim." As she puts it in The Apple in the Dark: "All I've got is hunger. And that unstable way of grasping an apple in the dark-without letting it fall."

Pleasure Beach is a queer love story from the North West’s saucy seaside paradise, Blackpool, on one day: 16 June 1999. Written in multiple voices and styles, Pleasure Beach follows the interconnecting journeys and thoughts of three young women over the course of 24 hours and over 18 chapters which are structured and themed in the same way as James Joyce’s Ulysses.

Hedonist and wannabe playwright Olga Adessi, 19, is struggling along the prom to get to her morning shift at the chippy with a monstrous hangover, trying to remember exactly what happened with Rachel Watkins, 19, a strange and fragile girl she had an encounter with the night before. Former gymnast and teenage mum Treesa Reynolds, 19, is off to the Sandcastle Waterpark with her mum Lou and daughter Lulu, looking forward to a sausage and egg McMuffin on the way.

Pleasure Beach breathes and exhales the unique sea air, fish and chips, donuts and candyfloss scents of Blackpool, bringing to life everything the town is famous for, portraying the gritty magic and sheer unadulterated fun of the city and its people across a spectrum of sensory experiences and emotions. 

Composed of stories, fragmentary essays, and even press releases Stagg has been commissioned to write, Artless captures the media landscape lived and generated in New York during the past half decade. Since the 2016 publication of her debut novel Surveys, Stagg has positioned herself as an in-demand expert on, and critic of, the psychic experience of self-mythology within the cruelly optimistic metaverse of infinite branding. Part voyeur and part participant, Stagg continues her exploration of the branded identity and its elusive, bottomless desire for authenticity.

Natasha Stagg is the author of a novel, Surveys, and a collection, Sleeveless: Fashion, Image, Media, New York 2011-2019. Her essays have appeared in the books Excellences and Perfections, Link in Bio: Art After Social Media, You Had To Be There: Rape Jokes, Intersubjectivity Vol. II: Scripting the Human, and 9th Berlin Biennale for Contemporary Art: The Present in Drag, among others.

Mnemotope is a community magazine, published by bog bodies press. Mnemotope magazine takes this as its inspiration-it acts as a place in which lots of stories from across timelines and borders can sit together, and cultural memories can interact. It exists to create and hold the expression and knowledge of its diverse community, because of this, the contents of the magazine are wonderfully varied; some confessional poetry, some hastily notated recipes, some fiction, some history, lots of other things, all submitted during an open call. The format put spreads together of contributions that seem to somehow be in dialogue with one another.

The name of the magazine comes from a term that's used in writings about archaeological finds - it's a little complex when we speak about it abstractly, so take, for example, a bog body. A bog body is an object, but when we look at one it takes on another function as an image. This image is the part beyond the physicality of the object-it's what makes us think about what the world must have been like when this person was walking on it, what they looked like, what they did, who found them, how much the area they were found in must have changed and so on and so on and so on. A mnemotope is something that compresses time, and allows you to be in the bog two thousand years ago and in the museum looking at the body and at home reading about it all at once.

001 contributors:

kostek konopinski, zoé bruhat, pati fixl, franz, lucy hodge-sellers, mathieu kelhetter, nancy martin, åsa yli-luoma, lilou angelrath, camille, mahaut bonnel-emerand, alba ala-pietilä, réiltin o'hagan, joely lorenzen, tom shaw, weronika grec, sarah agerbæk, luca monnerjan, aleksandra fixl, lara, jonas dannacher, lucas garvey, iseult o'hagan, cami, sara blosseville, anwyn howarth, viivi yli luoma, alicja wawryn, kiki astner, boye leborg, melissa-poupouille and anonymous.

The legendary lost novel in which fourteen-year-old Preston Wildey-King must choose between his all-consuming passion for Pepsi Cola and his love for schoolmate Peggy.

"He walked into the turbulent super market. There were people everywhere. His eyes swept over the shelves and stabilised on a large stack of Pepsi-colas. He could almost experience the cool fizzy liquid descending his parched throat."

Written by June-Alison Gibbons when she was only 16, The Pepsi Cola Addict is considered one of the great works of twentieth-century outsider literature. More than just a literary curiosity, however, this tale of a teenager whose passion for a well-known cola drink threatens to ruin his life is the uniquely vivid expression of a young woman trying to make sense of the confusing, often brutal world she in which found herself.

Published in 1982 by a vanity press who took £800 from its young author and gave her only a single book in return, it's thought that fewer than ten original copies still exist in the world.

Shortly after its publication, June-Alison and her sister Jennifer would become infamous as "The Silent Twins" and find themselves cruelly incarcerated for over a decade in Broadmoor Hospital. This author-approved edition makes June-Alison Gibbon's remarkable vision widely available for the first time.

The more I think about it, art theory is no place for straights. And contrary to popular opinion you can’t be really poor—or poor without a safety net—and bohemian. Or live in a capital city and have a fun time all the time or even some of it. There was no good reason why Someone Else and I split up besides different senses of humour and views on economics - which are two no good major reasons...

'In Vasari’s soaring vision of art, the most-used adjective is ‘beautiful’. In Finlay’s tarmac-hugging account it is ‘posh’. This book is not an appraisal of perfection of an artist’s output, but a rummage through an improvised life full of so much besides art. What a wry, unsparing weave of formative episodes and structural ironies. What devil-may-care tilts at authority. No redemption or overcoming all odds here! This unvarnished world is marbled through with brilliance and shit.' — Sally O’Reilly

This is the first paperback edition of one of Stein's most revealing novels. Written in 1925-26 (but not published until 1958), it is Stein's midcareer assessment of herself, her writing, and her relationships, composed in the unique style for which she is celebrated.

In place of a traditional narrative, Stein explores the nature of narrative, its possibilities, the various genres (historical novels, the novel of manners, adventure stories) available to the writer, the conventions of novel-writing, and the novelist's relation to her materials. In a sense, the novel is about preparing a novel (the subject of chap. 50), about everything that goes through a writer's head as she begins to write.

Mixed in with her meditations on writing are daily events in her marriage to Alice B. Toklas, visits from friends - including such notable figures of the period as Josephine Baker, Virgil Thomson, Rene Crevel, and a number of expatriate American writers and artists - travels in and around France, memories of the past, inquiries into names and the nature of identity, and virtually anything else that occurs to her.

As she writes at one point, It can easily be remembered that a novel is everything, so everything of interest to Stein goes into her preparations for the novel that is A Novel of Thank You.

Eliza travels to Sydney to deal with the estate of her Aunt Dodge, and finds Maxine, a hitherto unknown cousin, occupying Dodge's apartment. When legal complications derail plans to live it up on their inheritance, the women's lives become consumed by absurd attempts to deal with Australian tax law, as well their own mounting boredom and squalor. The most astonishing debut novel of the decade, Dodge Rose calls to mind Henry Green in its skewed use of colloquial speech, James Joyce in its love of inventories, and William Gaddis in its virtuoso lampooning of law, high finance, and national myth.

Jack Cox was born in Sydney, Australia, and holds a Master's degree from the University of Sydney. In 2012, he studied in Paris as the recipient of a Marten Bequest scholarship. Dodge Rose is his first novel.

Appearing for the first time in English, Deceit is the debut novel by Yuri Felsen, a leading modernist writer of the interwar Russian diaspora. Known by his contemporaries as ‘the Russian Proust’, Felsen died in the gas chambers at Auschwitz, his life and legacy destroyed by the Nazis.

Written in the form of diary, Deceit is a psychological self-portrait of an unnamed narrator, a neurasthenic and aspiring author, whose often-thwarted pursuits of his love interest and muse provide the grounds for his beautifully wrought extemporizations on love, art and human nature. Modulating between the paroxysms of his tormented romance and his quest for an aesthetic mode befitting of the novel he intends to write, Deceit is a remarkable work of introspective depth and psychoanalytic inquiry.

Quite unlike any other writer in the Russian canon, Felsen evokes in rich, poetic, idiosyncratic prose not only the Zeitgeist of interwar Europe and his émigré milieu, but also its psychology and the existential crisis of the age. What Nabokov achieves with images and the physical world, Felsen does with the emotional and metaphysical.

Translated by Bryan Karetnyk
With a Foreword by Peter Pomerantsev

A legend in his home country of Greece but virtually unknown abroad, The Commune is the final work of Marios Chakkas, composed in the months preceding his early death in 1972. Born under the Fascist regime and reared as a socialist revolutionary, The Commune is Chakkas' reckoning with the uncertainty of the past and the madness of the present as the military junta secures its position and the spirit of the socialist insurrection fades. Returning from political exile, Chakkas confronts the decay and ruin of his Athenian neighborhood as he recounts childhood gunfights in the streets, churches filled with asbestos, vanished comrades, and violent squabbles over memorials for executed partisans in his singular voice which swerves from scorching poetic indignation to gallows humor to metaphysical meditation.

Chloe Tsolakoglou is a Greek-American writer who grew up in Athens, Greece. A PhD Student in English and Comparative Literature at Columbia University, her work has been published in or is forthcoming by Denver Quarterly’s FIVES, The Adroit Journal, Cream City Review, and elsewhere.

Translated by Chloe Tsolakoglou

Tower Street, East London, 1975: a crumbling block of artists’ studios shaped by the myth of male genius but maintained by Connie, a female caretaker struggling to find her creative voice. Cut to 2017, and this same building is now luxury apartments, the new home of young couple Jane and Tam. Yet their fresh start is jeopardized when a chance discovery brings past secrets to light.

Drawing on interviews with artists, photographers and administrators, as well as autobiographical elements, Innominate is a mystery story about privilege and power, in which buildings (and bodies) alternately nurture, trap, and entangle their inhabitants. Perhaps it is only by dissecting the architecture of a place that we can truly understand what happened there?

From the acclaimed author of The Employees, a radical, funny, and mercilessly honest novel about motherhood

After giving birth, Anna is utterly lost. She and her family move to the unfamiliar, snowy city of Stockholm. Anxiety threatens to completely engulf the new mother, who obsessively devours online news and compulsively buys clothes she can’t afford. To avoid sinking deeper into her depression, Anna forces herself to read and write.

My Work is a novel about the unique and fundamental experience of giving birth, mixing different literary forms – fiction, essay, poetry, memoir, and letters – to explore the relationship between motherhood, work, individuality, and literature.

An ageing eunuch, named Wang Wei after the great poet, looks back on his life at the court of the Song dynasty in 12th-century China

Wang Wei has always chosen his words carefully. His unobtrusive presence has seen him through the reign of five emperors, but now, as his own time is running out, he immerses himself in an unbridled account of a life confined at court. From the early separation from his parents, sisters, and brother – who did not survive the operation into a eunuch – to the power struggles he has witnessed and endured, Wang Wei examines human relationships with precision and a catching sense of wonder. While rumours are weapons, it is love and its various forms of expression that most fascinate Wang Wei.

Reaching into a secret and secluded world, Carlson's vivid prose is as delicate as it is enigmatic. A meditation on power and exclusion, love and loneliness, gender and identity, ageing and transformation, Eunuch is a compact masterpiece.

Powerfully inventive and atmospheric, Strega is a modern gothic story of nine young women on the cusp of inheriting society’s submission to violence, and the age-long myths that uphold it

With little boxes of liquorice, hairbands, and notebooks in her bag, Rafa arrives at the remote Alpine town of Strega to work at the grand Olympic Hotel. There, she and eight other girls receive the stiff uniforms of seasonal workers and are taught to iron, cook, and make the beds by austere matrons. In spare moments between tasks, the girls start to enjoy each other’s company as they pick herbs in the garden, read in the library, and take in the scenery. But when the hotel suddenly fills with people for a raucous party, one of the girls disappears. What follows are deeper revelations about the myths young women are told, what they are raised to expect from the world, the violence they are made to endure, and, ultimately, the question of whether a gentler, more beautiful life is possible.

A monument to long-dead maids and their shrouded knowledge, Johanne Lykke Holm’s luminescent and jagged prose, delivered in Saskia Vogel’s incisive translation, resonates like a spell that keeps exerting its powers long after reading.

The collected life-work of an interdisciplinary writer, performer, and central figure in the Black Gay cultural arts and AIDS movements.

In this timely collection of poetry, plays, fiction, and performance texts, Assotto Saint draws upon music and incantation, his Haitian heritage, and a politics of liberation to weaves together a tapestry of literature that celebrates life in the face of death. Influential to contemporary writers such as Essex Hemphill, Marlon Riggs, and Melvin Dixon, Sacred Spells is Saint’s crucial legacy–five hundred incandescent pages of painful, lyric writing that exemplifies the visceral, spiritual dimensions of an artistic practice that’s integral to Black and LGBTQ activist movements worldwide, both historic and present.

The debut fiction collection from an inimitable critic, Truth & Dare is a deeply personal and fantastical ride through gender, trauma, queerness, science, history, and religion.

Cornish mermaids take to the football pitch to protest warming seas. Trans students in Manchester searching for the perfect dick accidentally warp the fabric of spacetime. England's worst pogrom comes for York's particle collider, powered by bread and gender energy. On Bournemouth beach, a storm delivers an ancestor across oceans of time to sire a drowning descendant. The devil stands a drink at London's famous gay pub, The Black Cap, while Artemis, in the guise of Joan of Arc, roams a life-or-death night in East Sussex.

Remember the Witchcraft Act of 1927, and the refugees that fled via cinema to defend the Republic of Catalunya? Of course not, it's been written out of history. This is England, (but not?) as we know it.

A queer quantum tour through what was, what is, what could have been and may yet still come to pass, in a collection that braids high-wire believe-it-or-not memoir with cutting-edge science fiction (or is it?) from alternate timelines that vibrate very close to ours. Truth or dare? Both, always.

So Mayer is a writer, indie bookseller, film curator, and pencil stan. Their most recent books are A Nazi Word for a Nazi Thing (Peninsula, 2020), a short essay on queer art, censorship and resistance, and <jacked a kaddish> (Litmus, 2018), a poetry sequence about interwar masculinity, technology and hats, and their BFI Film Classics on Orlando is forthcoming. Their work across genres and forms has been published internationally, including in Roxane Gay's anthology Not that Bad: Dispatches from Rape Culture, in several Criterion DVDs, and in Ignota Press's Spells: 21st Century Occult Poetry. Plus their poetry once appeared on hoardings in Dublin. With Adam Zmith, they collaborated on Unreal Sex for Cipher, an anthology of queer SFFH, and on the BBC Sounds podcast The Film We Can't See, a tour through queer film history.

The radical, joyful follow-up to the Goldsmiths Prize-winning Sterling Karat Gold.

This is the story of Corey Fah, a writer on the cusp of a windfall, courtesy of the Social Evils prize committee, for whom the actual gong - and with it the prize money - remains tantalizingly out of reach.

Neon beige, with UFO-like qualities, the elusive trophy leads Corey, with partner Drew and surprise eight-legged companion Bambi Pavok, on a spectacular detour through their childhood in the Forest - via an unlikely stint on reality TV. Navigating those twin horrors, through wormholes and time loops, Corey learns - the hard way - the difference between a prize and a gift.

Both radiant and revolutionary, Isabel Waidner's fiction gleefully takes a hammer to false binaries, boundaries and borders, turning walls into bridges and words into wings. Fierce, fluid and funny, they free us to imagine another way of being.

This is a novel about coming into one's own, the labour of love, the tendency of history to repeat itself and the pitfalls of social mobility. It's about watching TV with your lover.

Published in excerpts over almost four decades, Jack Skelley’s “secretly legendary” novel is at once an homage to the thrillingly inventive spirit of Kathy Acker’s cut-up novels and a definitive history of LA’s underground culture of the mid-1980s.

Composed in bursts, Fear of Kathy Acker depicts Los Angeles through the eyes of a self-mocking narrator. Shifting styles and personae as he moves between Venice and Torrance, punk clubs and shopping malls, Disneyland and Dodger Stadium, Jack Skelley pushes the limits of language and identity while pursuing–like Kathy Acker–a quixotic literary mix of discipline and anarchy. In this adrenalized, cosmic and comic chronicle of Los Angeles, Skelley's “real life” friends make cameo appearances alongside pop archetypes from Madonna to Billy Idol.

This first-ever complete edition of the book includes new essays, playlists, and a map of the 1980s Los Angeles in which its manic protagonist lives and loves.

Afterword by Sabrina Tarasoff.