World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
THU—SAT 12—6 PM
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
info@worldfoodbooks.com
Art
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World Food Books Gift Voucher
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All prices in AUD (Australian dollars)
Pick-Ups
Pick-up orders can be collected in our bookshop during opening hours after order date. Please collect any Pick-up orders within 2 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected. If you cannot make it in to the bookshop in this time-frame, please choose postage option.
Return Policy
All sales are final. We do accept returns (for refund or exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
2006, English / French
Softcover (french folds), 208 pages, 24 x 20 cm
1st Edition, Out of print title / used / very good
Published by
Halle Saint-Pierre / Paris
$200.00 - Out of stock
First edition of this wonderful Unica Zürn monograph, published by Publisher Éditions du Panama to accompany a major survey exhibition in Paris in 2006—2007 at the Halle Saint Pierre, curated by Martine Lusardy and Sepp Hiekisch-Picard. Lavishly illustrated, this important catalogue, now long out-of-print, includes a large number of illuminating texts by scholars in bi-lingual English/French, including: "Unica Zürn: designs so dense" by Roger Cardinal; “Du wirst dein Geheimnis sagen (“You will tell your secret”). The anagram in the work of Unica Zürn" by Victoria Appelbe; "The magical encounter between writing and image" by Barbara Safarova; "The work of Unica Zürn, genesis and reception" by Sepp Hiekisch-Picard; "Read Unica Zürn: the contagion of the void" by Jean-Louis Lanoux; "Unica Zürn (July 6, 1916 – October 19, 1970): biographical references" by Rike Felka and Erich Brinkmann. An important, heavily illustrated reference of Zürn's life and work.
The German artist and writer Unica Zürn (1916-1970) joined the ranks of Surrealism in the 1950s, after moving to Paris and taking up residence with fellow German-born Surrealist Hans Bellmer. Already an accomplished author, Zürn was drawn to the Surrealist movement's espousal of automatic drawing and writing, Zürn pursued Henri Michaux's declaration that "the hand dreams," making a vocation of these techniques with her dense, otherworldly drawings and paintings that are labyrinthine in detail, as one form sprouts out of another. Also with her experimental anagrams, natural extensions of her established interest in hidden meanings and coincidences. Zürn produced most of her oeuvre during this intensive period in the 1950s and 60s, though one marked by her deteriorating mental health. Many of her works were made during periods of hospitalisation. In 1970, Zürn leapt to her death from the balcony of the Paris apartment she had shared with Bellmer. Upon his death in 1975, Bellmer was buried, at his request, next to Zürn in Paris’s Père-Lachaise Cemetery. Their grave is marked with the words Bellmer wrote for Zürn’s funeral wreath nearly five years before: “My love will follow you into Eternity.”
Zürn has left us an account of the sensation of automatic drawing: "After an initial moment when the pen 'swims' hesitantly on the paper, she discovers the place assigned to the first eye. It is only when she is being watched from the depths of the paper that she begins to get her bearings and, effortlessly, one motif is added to another."
Very Good copy with light wear.
2021, English
Hardcover, 192 pages, 17.2 x 19.8 cm
Published by
Atlas Press / London
$50.00 - In stock -
Unica Zürn’s celebrated autobiography, plus the greatest of her short fictional texts, edited and in a revised by translation by Malcolm Green.
In the 25 years since Atlas Press first published this account by Unica Zürn of her long history of mental crises, she has come to be recognised as a great artist at least the equal of her partner, the Surrealist Hans Bellmer.
Yet her work is barely comprehensible without the texts printed here, in which she demonstrates how her familiarity with Surrealist conceptions of the psyche allowed her to welcome the most alarming experiences as offering her access to an inner existence that was the vital source for her artistic output. The introduction here was the first study to consider her life and work from this perspective.
Zürn’s initial mental collapse was initiated when she encountered her fantasy figure “the man of Jasmine” in the real world in the person of the writer Henri Michaux. Her meeting with him plunged her into a world of hallucination in which visions of her desires, anxieties and events from her unresolved past overwhelmed her present life. Her return to “reality” was constantly interrupted by alternate visionary and depressive periods, and her description of these episodes reveals how language itself formed a part of the “divinatory” method that could aid her recovery or predict a new crisis. Her compulsion for composing anagrams allowed her to dissect everyday language so as to release from it an astonishing flood of messages, threats and evocations. This method, if such it can be called, and Zürn’s eloquent yet direct style make this book a masterpiece of literature as well as providing an acute first-hand insight into extreme psychological states.
In 1970 Unica Zürn committed suicide by throwing herself from the sixth-floor apartment that she shared with Bellmer.
2013, English
Hardcover, 176 pages, 17.4 x 19.6 cm
Published by
Atlas Press / London
$46.00 - In stock -
Mystery, the marvellous, the city of Paris transmuted by love, and Sanglot the Corsair’s pursuit of the siren Louise Lame: these are the essential ingredients of this masterpiece of early Surrealism. It was originally published in 1924 to immediate and lasting acclaim — except from the public authorities who immediately censored whole sections (here restored).
How describe a novel of such virtuosity and bravura, which never behaves as one would expect? Characters appear and vanish according to whim and desire, they walk underwater, nonchalantly accept astounding coincidences. It’s a hymn to the erotic, an adventure story illumined by the shades of Sade, Lautréamont and Jack the Ripper, a dream at once violent and tender, in fact the perfect embodiment of the Surrealist spirit: joyful, despairing, and effortlessly scandalous.
Desnos was one of the earliest members of the Paris Surrealist group. His remarkable talents first emerged during the “Period of Sleeping Fits”, when the group was investigating unconscious and trance states. Able to put himself in trance at will, he would pour out sonnets, prophecies, enigmatic drawings. “Desnos more than any of us got closest to the Surrealist truth,” wrote Breton in their first manifesto.
An active member of the Resistance, Desnos died of typhus two weeks after his liberation from the Nazi concentration camp at Terezin.
Translated and introduced by Terry Hale.
2008, English
Softcover, 112 pages, 17 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$25.00 - In stock -
Louis-Ferdinand Céline (1894-1961) is best known for his early novels Journey to the End of the Night (1932)—which Charles Bukowski described as the greatest novel of the past 2,000 years—and Death on the Installment Plan (1936), but this delirious, fanatical "biography" predates them both.
The astounding yet true story of the life of Ignacz Semmelweis provided Céline with a narrative whose appalling events and bizarre twists would have lain beyond credibility in a work of pure fiction.
Semmelweis, now regarded as the father of antisepsis, was the first to diagnose correctly the cause of the staggering mortality rates in the lying-in hospital at Vienna. However, his colleagues rejected both his reasoning and his methods, thereby causing thousands of unnecessary deaths in maternity wards across Europe. This episode, one of the most infamous in the history of medicine, and its disastrous effects on Semmelweis himself, are the subject of Céline's semi-fictional evocation, one in which his violent descriptive genius is already apparent. The overriding theme of his later writing—a caustic despair verging on disgust for humanity—finds its first expression here, and yet he also reveals a more compassionate aspect to his character.
Semmelweis was not published until 1936, after the novels that made Céline famous. "It is not every day we get a thesis such as Céline wrote on Semmelweis!" wrote Henry Miller of this volume.
VG copy with some cover rubbing/wear.
1958, English
Softcover, 222 pages, 18 x 11.5 cm
Out of print title / used / good
Published by
Panther / London
$40.00 - Out of stock
1958 Panther paperback edition of House of Dolls, the 1953 novella by Ka-tzetnik 135633, the pen name of Yehiel De-Nur (1909-2001), a Jewish writer and Holocaust survivor, whose books were inspired by his time as a prisoner in the Auschwitz concentration camp. The novella describes "Joy Divisions", which were groups of women imprisoned in the concentration camps during World War II who were kept for the sexual pleasure of other inmates. It is the book that inspired the name of British post-punk band Joy Division. One of their early songs, "No Love Lost", also contains a short excerpt from the novella. The success of the book showed there was a market for Nazi exploitation popular literature, known in Israel as Stalags. However Yechiel Szeintuch from the Hebrew University rejects links between the smutty Stalags on the one hand, and Ka-Tzetnik's works, which he insists were based on reality, on the other.
Lord Russell of Liverpool: "In my book ' THE SCOURGE OF THE SWASTIKA' I wrote regarding Auschwitz, the 'Camp of Death', these words: 'Were everything to be written it would not be read. If read, it would not be believed.' Ka-tzetnik's book ' THE HOUSE OF DOLLS' is based on a diary kept by a young Jewess who was captured in Poland when she was fourteen years old and subjected to enforced prostitution in a Nazi labour camp. It is a terrible story which, nevertheless, should be read; it shows the depths of bestiality to which Germans sank under Hitler during World War Il. The story would be incredible were not the authenticity of its background undisputed."
Good copy with light cover wear and some light rippling to the cover and pages, toning to pages.
1973 / 1974, English
Softcover, 760 pages, 21.5 x 14 cm
1st UK Edition, Out of print title / used / good
Published by
Jonathan Cape / London
$200.00 - In stock -
Rare first 1973 UK edition, second 1974 printing of Thomas Pynchon's disturbing post-modern masterpiece, Gravity's Rainbow, published by Jonathan Cape. Winner of the 1973 National Book Award and controversial Pulitzer finalist, Gravity's Rainbow is a post-modern epic, a work as exhaustively significant to the second half of the twentieth century as Joyce's Ulysses was to the first. Its sprawling, encyclopedic narrative and penetrating analysis of the impact of technology on society make it an intellectual tour de force. Writing in The New Yorker, poet L. E. Sissman called Pynchon a “mathematician of prose” – and this is considered his greatest work. Gravity’s Rainbow appears on Time’s list of the 100 greatest English language novels written from 1923 to 2005.
"A work of paranoid genius, a magnificent necropolis”—New York Times
"We could tell you the year is 1944, that the main character is called Tyrone Slothrop and that he has a problem because bombs are falling across Europe and crashing to earth at the exact locations of his sexual conquests. But that doesn't really begin to cover it. Reading this book is like falling down a rabbit hole into an outlandish, sinister, mysterious, absurd, compulsive netherworld. As the Financial Times said, you must forget earlier notions about life and letters and even the Novel. Forty years since publication, Gravity's Rainbow has lost none of its power to enthral."
Good copy with general tanning, handling and softening wear to cover corners and extremities, some light cover and spine creasing.
2025, English
Softcover, 72 pages. 22.2 x 17.1 cm
Published by
Magic Hour Press / New York
$60.00 - Out of stock
This photobook, one of two from Hervé Guibert published in his lifetime, is filled with characters, settings and mystery. It starts with bodies – their faces either eclipsed or out of frame – before unleashing a bravura sequence of portraits: friends, lovers, family and Guibert himself. As the book approaches its finale, his subjects are obscured and then disappear completely, leaving behind the objects they touched, until even those vanish, leaving only light.
Most of the photographs in The Only Face were taken on Guibert’s European and American travels, but their settings are, with few exceptions, small private interiors. The effect is an inwardness that communicates Guibert’s deep affinity with his subjects.
The Only Face, originally published in Paris in 1984, is the second and final photobook Guibert published in his lifetime (preceded by the photo-novel Suzanne and Louise, also reissued in English by Magic Hour Press). This new edition presents Guibert’s photographs in their original sequence, with his titles and introductory text translated by Christine Pichini and a new cover by the artist Marc Hundley.
French writer and photographer Hervé Guibert (1955–91) was the author of 25 books, beginning with Propaganda Death (1977), a fictional memoir in the tradition of Georges Bataille, Jean Genet and the Marquis de Sade. His best-selling novel To the Friend Who Did Not Save My Life (1990) was inspired by his long friendship with Michel Foucault and the two men’s experiences living with AIDS, which tragically ended Guibert’s life at the age of 36.
2018, English
Hardcover, 480 pages, 17.4 x 23.2 cm
Published by
Atlas Press / London
$65.00 - Out of stock
Georges Bataille's secret society, long the stuff of legend, is now revealed in its texts, meditations, rules and prohibitions.
This book recounts what must be one of the most unusual intellectual journeys of modern times, in which the influential philosopher, cultural theorist and occasional pornographer Georges Bataille (1897-1962), having spent the early 1930s in far-left groups opposing the rise of fascism, abandoned that approach in order to transfer the struggle onto "the mythological plane."
In 1937, Bataille founded two groups in order to explore the combinations of power and the "sacred" at work in society. The first group, the College of Sociology, gave lectures that were intended to reveal the hidden undercurrents within a society on the verge of catastrophe. The second group was Acéphale, a genuine secret society and anti-religion whose emblem was a headless figure that, in part, represented the death of God. Until the discovery a few years ago of the group's internal papers (which include theoretical texts, meditations, minutes of meetings, rules and prohibitions and even a membership list), almost nothing was known of its activities.
This book is the first to collect a representative selection of the writings of Bataille, and of those close to him, in the years leading up to World War II. The texts published here comprise lectures given to the College of Sociology by Bataille, Roger Caillois and Michel Leiris, essays from the Acéphale journal and a large cache of the internal papers from the secret society. A desperate narrative unfolds, wherein Bataille risked all in a wholly unreasonable quest--with a few fellow travelers, he undertook what he later described as a "journey out of this world."
Additional texts by Roger Caillois, Pierre Klossowski, Michel Leiris, and by Georges Ambrosino, Pierre Andler, Michel Carrouges, Jacques Chavy, Jean Dautry, Henri Dobier, Henri Dussat, Imre Kelemen, Jean Rollin, Patrick Waldberg.
And with drawings by André Masson
Highest recommendation!
2025, English
Softcover, 144 pages,15.2 x 22.9 cm
Published by
Semiotext(e) / Los Angeles
$39.00 - In stock -
A searing disavowal of identity and inheritance, which completes Constace Debré's acclaimed trilogy.
I have a political agenda. I am in favor of the elimination of inheritance, the requirement that ancestors sustain their descendants, I am for the elimination of parental authority, I am for the abolition of marriage, I am in favor of children getting some distance from their parents at as young an age as possible, I am for the abolition of filiation, and for the abolition of the family name, I am against guardianship, minority, I am against patrimony, I am against having a domicile, a nationality … I am for eliminating the family, I am in favor of eliminating childhood as well, if we can.
Name, the third novel in Constance Debré's acclaimed trilogy, is at once a manifesto, an ecstatic poem, and a political pamphlet. By rejecting the notion of given identity, her narrator approaches the heart of the radical emptiness that the earlier books were pursuing.
Newly single, and having recently come out as a lesbian, the narrator of Debré's first two novels embarked on a monastic regime of exercise, sex, and writing. Using the facts of her own life as impersonal “material” for literature, Playboy and Love Me Tender epitomized what Debré (after Thomas Bernhard) has called “antiautobiography.” They introduced French and American readers to her fiercely spare prose, distilled from influences as disparate as Saint Augustine, Albert Camus, and Guillaume Dustan. “Minimalist and at times even desolate,” wrote the New York Review of Books, these works defied “the expectations of personal growth that animate much feminist literature.”
Name is Debré's most intense novel yet. Set partly in the narrator's childhood, it rejects Proustian notions of “regaining” the past. Instead, its narrator seeks a state of profound disownment: “We have to get rid of the idea of origins, once and for all, I'm not holding onto the corpses. … Being free has nothing to do with that clutter, with having suffered or not, being free is the void.” To achieve true freedom, she dares to enter this “void”—that is, dares to accept the pain, loss, and violence of life. Brilliant and searing, Name affirms and extends Debré's radical project.
2022, English
Softcover, 304 pages, 13.3 x 20.3 cm
Published by
Semiotext(e) / Los Angeles
$38.00 - In stock -
The first collected edition of legendary writer, actress, and adventurer Cookie Mueller's stories, featuring the entire contents of her 1990 book Walking through Clear Water in a Pool Painted Black, alongside more than two dozen others, some previously unpublished.
Legendary as an underground actress, female adventurer, and East Village raconteur, Cookie Mueller's first calling was to the written word: I started writing when I was six and have never stopped completely, she once confessed. Muellerís 1990 Walking through Clear Water in a Pool Painted Black, the first volume of the Semiotext(e) Native Agents series, was the largest collection of stories she compiled during her life. But it presented only a slice of Mueller's prolific work as a writer. This new, landmark volume collects all of Mueller's stories: from the original contents of Clear Water, to additional stories discovered by Amy Scholder for the posthumous anthology Ask Dr. Mueller, to selections from Mueller's art and advice columns for Details and the East Village Eye, to still new stories collected and published here for the first time. Olivia Laing's new introduction situates Mueller's writing within the context of her life--and our times.
Thanks to recent documentaries like Mallory Curley's A Cookie Mueller Encyclopedia and Chloé Griffin's oral biography Edgewise, Mueller's life and work have been discovered by a new generation of readers. Walking through Clear Water in a Pool Painted Black: Collected Stories returns essential source material to these readers, the archive of Mueller's writing itself. Mueller's many mise en scènes--the Baltimore of John Waters, post-Stonewall Provincetown, avant-garde Italy, 1980s New York, an America enduring Reagan and AIDS--patches together a singular personal history and a primer for others. As Laing writes in her introduction, Collected Stories amounts to a how-to manual for a life ricocheting joyously off the rails . . . a live corrective to conformity, conservatism, and cruelty.
1970, English
Softcover, 104 pages, 22.86 x 15.24 cm
Reprint,
Published by
Lightning Source / Tennessee
$42.00 - In stock -
Official bootleg-looking reprint of the first 1970 English softcover edition of Yukio Mishima's Sun and Steel, a masterpiece of modern Japanese literature.
In this fascinating document, one of Japan's best known-and controversial-writers created what might be termed a new literary form. Sun and Steel: Art, Action and Ritual Death (Japanese: 太陽と鉄, Hepburn: Taiyō to Tetsu) is an autobiographical essay, a memoir of the author's relationship to his body. It is new because it combines elements of many existing types of writing, yet in the end fits into none of them.
At one level, it may be read as an account of how a puny, bookish boy discovered the importance of his own physical being; the "sun and steel" of the title are themselves symbols respectively of the cult of the open air and the weights used in bodybuilding. At another level, it is a discussion by a major novelist of the relation between action and art, and his own highly polished art in particular. More personally, it is an account of one individual's search for identity and self-integration. Or again, the work could be seen as a demonstration of how an intensely individual preoccupation can be developed into a profound philosophy of life.
All these elements are woven together by Mishima's complex yet polished and supple style. The confession and the self-analysis, the philosophy and the poetry combine in the end to create something that is in itself perfect and self-sufficient. It is a piece of literature that is as carefully fashioned as Mishima's novels, and at the same time provides an indispensable key to the understanding of them as art.
The road Mishima took to salvation is a highly personal one. Yet here, ultimately, one detects the unmistakable tones of a self transcending the particular and attaining to a poetic vision of the universal. The book is therefore a moving document, and is highly significant as a pointer to the future development of one of the most interesting novelists of modern times.
"One of the twentieth century's outstanding statements of literary and personal purpose." -Library Journal"Necessary reading." -Times Literary Supplement"Had we [read this before his suicide], the extravagant events surrounding his death would have been more readily comprehensible." -Sunday Times"A key to the novelist's behavior." -Sunday Telegraph
YUKIO MISHIMA, one of the most spectacularly gifted writers in modern Japan, was born into a samurai family in 1925. Yukio Mishima was a Japanese author, poet, playwright, actor, model, Shintoist, nationalist, and founder of the Tatenokai ("Shield Society"), an unarmed civilian militia. Mishima is considered one of the most important Japanese authors of the 20th century. He was considered for the Nobel Prize in Literature in 1968. His works include the novels Confessions of a Mask and The Temple of the Golden Pavilion. Mishima's work is characterized by "its luxurious vocabulary and decadent metaphors, its fusion of traditional Japanese and modern Western literary styles, and its obsessive assertions of the unity of beauty, eroticism and death", according to author Andrew Rankin. In November 1970 he and his Tatenokai forced their way into a Self-Defense Force headquarters in Tokyo, where Mishima, after reading out a proclamation, committed ritual suicide with a young follower in the commanding officer's room. On the morning of his death, the last volume of Mishima's tetralogy, The Sea of Fertility (The Spring Snow, Runaway Horses, The Temple of Dawn, The Decay of the Angel) was delivered to his publisher.
The Translator, JOHN BESTER, born and educated in England, is one of the foremost translators of Japanese fiction. Among his translations are Masuji Ibuse's Black Rain, Kenzaburo Oe's The Silent Cry, Fumiko Enchi's The Waiting Years, and Junnosuke Yoshiyuki's The Dark Room. He received the 1990 Noma Award for the Translation.
2024, English
Softcover, 192 pages, 19.8 x 12.9
Published by
Verso / London
$39.00 - In stock -
Translated by Helen O'Horan
The first novel from Izumi Suzuki to be published in English: a candid, intimate exploration of passion, music and transgression.
Hope I’m in for a good time, I thought. Even if it’s just for tonight.
Set in the underground bar and club scene of 1970s Tokyo, Set My Heart On Fire tells the story of Izumi in her turbulent twenties. Through a series of disarmingly frank vignettes, author Izumi Suzuki presents an unforgettable portrait of a young woman encountering missteps and miscommunication, good music and unreliable men, powerful drugs and disorientating meds. Izumi usually keeps her relationships short but complicated, until she meets Jun.
Set My Heart on Fire is a visceral novel about mistaken relationships and the convolutions of desire, about regret and acceptance. Pulsing through the narration is the protagonist’s love of music, a vital soundtrack spanning the Zombies, T. Rex and the Rolling Stones as well as underground Japanese psychedelic-rock bands such as the Tigers and the Tempters.
"The work and messages of Ursula K. Le Guin, the author’s longer-lived contemporary, come to mind. Both Suzuki and Le Guin knew that gender roles are a matter of costume or control, affect or affliction. The terms we use to define humanity are often inhuman"—Catherine Lacey, New York Times
"Suzuki's unique sensibility, which combined a punk aesthetic with a taste for the absurd. Her work-populated by misfits, loners, and femmes fatales alongside extraterrestrial boyfriends, intergalactic animal traffickers, and murderous teen-agers with E.S.P.-wryly blurs the boundary between earthly delinquency and otherworldly phenomena."—New Yorker
"Wild and restless ... I can't think of anyone I'd rather read than this countercultural icon of the Japanese literary underground."—Frieze
2023, English
Softcover, 288 pages, 20.9 x 13 cm
Published by
Verso / London
$32.00 - In stock -
A new collection of stories from the cult author of Terminal Boredom.
Izumi Suzuki had ideas about doing things differently, ideas that paid little attention to the laws of physics, or the laws of the land. In this new collection, her skewed imagination distorts and enhances some of the classic concepts of science fiction and fantasy.
A philandering husband receives a bestial punishment from a wife with her own secrets to keep; a music lover finds herself in a timeline both familiar and as wrong as can be; a misfit band of space pirates discover a mysterious baby among the stars; Emma, the Bovary-like character from one of Suzuki’s stories in Terminal Boredom, lands herself in a bizarre romantic pickle.
Wryly anarchic and deeply imaginative, Suzuki was a writer like no other. These eleven stories offer readers the opportunity to delve deeper in this singular writer's work.
Translated by Sam Bett, David Boyd, Daniel Joseph and Helen O'Horan
"Extraordinary. To use one of her own coolly illuminating formulations, Suzuki is steward of a new anxiety"—China Miéville
"Brilliant and often bleak … all shot through with a camp ethos, dark humour and kitchen-sink realism … in their brio and jagged urgency, these stories have, if anything, only gained in their alarming immediacy."— Times Literary Supplement
2021, English
Softcover, 208 pages, 20.9 x 13 cm
Published by
Verso / London
$32.00 - In stock -
The first English-language publication of the work of Izumi Suzuki, a legend of Japanese science fiction and a countercultural icon.
In a future where men are contained in ghettoised isolation, women enjoy the fruits of a queer matriarchal utopia—until a boy escapes and a young woman’s perception of the world is violently interrupted. The last family in a desolate city struggles to approximate twentieth- century life on Earth, lifting what notions they can from 1960s popular culture. But beneath these badly learned behaviours lies an atavistic appetite for destruction. Two new friends enjoy drinks on a holiday resort planet where all is not as it seems, and the air itself seems to carry a treacherously potent nostalgia. Back on Earth, Emma’s not certain if her emotionally abusive, green-haired boyfriend is in fact an intergalactic alien spy, or if she’s been hitting the bottles and baggies too hard. And in the title story, the tyranny of enforced screen-time and the mechanisation of labour foster a cold-hearted and ultimately tragic disaffection among the youth of Tokyo.
Nonchalantly hip and full of deranged prescience, Suzuki’s singular slant on speculative fiction would be echoed in countless later works, from Neuromancer to The Handmaid’s Tale. In these darkly playful and punky stories, the fantastical elements are always grounded in the universal pettiness of strife between the sexes, and the gritty reality of life on the lower rungs, whatever planet that ladder might be on.
Izumi Suzuki was born in 1949. After dropping out of high school she worked in a factory before finding success and infamy as a model and actress. She was a member of Shuji Terayama's independent underground theater troupe Tenjo Saijiki, and acted in both "pink" films and classics of 1970s Japanese cinema. Izumi was the subject of many of Nobuyoshi Araki's most famous photographs and this photobook is one of his most sought after.. When the father of her children, the jazz musician Kaoru Abe, died of an overdose, Suzuki’s creative output went into hyperdrive and she began producing the irreverent and punky short fiction, novels and essays that ensured her reputation would outstrip and outlast that of the men she had been associated with in her early career. She took her own life in 1986, leaving behind a decade’s worth of groundbreaking and influential writing.
1979, English
Hardcover (w. dust jacket), 274 pages, 23.5 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Wydawnictwo Literackie / Kraków
$140.00 - In stock -
Rare first 1979 hardcover bi-lingual (Polish/English) edition of "Building the Barricade" a seminal collection of poetry of witness by the Polish poet Anna Świrszczyńska (1909-1984), a confronting document of Świrszczyńska’s experience as a military nurse and member of the Polish Resistance during the sixty-three days of the 1944 Warsaw Uprising — the Polish underground's resistance to liberate Warsaw from Nazi German occupation. In this original translated edition published by Wydawnictwo Literackie, Kraków, the poems are accompanied by the photography of Jerzy Tomaszewski (1924– 2016), who fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partially damaged) come from a collection which had been lost for over thirty years. Their recent discovery in the 1970s was an important historical and artistic event.
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Anna Świrszczyńska, born in Warsaw, Poland, in 1909, is one of the most significant Polish poets and playwrights of the entire postwar period. She attended Warsaw University where she studied medieval and baroque Polish literature. She began publishing poems in the 1930s. During the Nazi occupation of Poland, Świrszczyńska joined the Polish Resistance and was a military nurse during the Warsaw Uprising. Anna Świrszczyńska died in Krakow of cancer in 1984.
Translations by Magnus J. Krynski, Professor of Slavic Literatures at Duke University and author of many essays on contemporary Polish literature, and Robert A. Maguire, Professor of Russian Literature at Columbia University.
Anna Swirszczynska is one of the most significant Polish poets and playwrights of the entire postwar period. Among the works that gained her this position are the volumes of poetry Wind, I Am Female, Happy as a Dog's Tail and the plays Gunfire on Dluga Street and Conversation with My Own Foot. The first of these plays is set in Nazi occupied Warsaw while the second takes up the theme of a potentital nuclear destruction of the world.
Magnus J. Krynski, Professor of Slavic
Literatures at Duke University, is the author of many essays on contemporary Polish literature. Robert A. Maguire is Professor of Russian Literature at Columbia University.
His books include Red Virgin Soil and Gogol from the Twentieth Century. Krynski and Maguire are the translators of a selection of Tadeusz Rózewicz's poetry, The Survivor and Other Poems, published by Princeton University Press. Their translations were most favourably received by critics. At present they are preparing a volume of Wislawa Szymborska's poems in English.
Jerzy Tomaszewski fought and was wounded in the Warsaw Uprising of 1944, which he also covered as an official photo-reporter. He is the author of many photographic albums which brought him wide acclaim. The photographs which illustrate this volume (some of them partialy damaged) come from a collection which had been lost for over thirty thirty years. Their recent discovery was an important historical and artistic event.
Building the Barricade - Anna Świrszczyńska - translated by Piotr Florczyk - Introduction by Eavan Boland
$20.00 - ISBN 978-1-945680-68-7
Building the Barricade, a volume of poems by the Polish poet Anna Świrszczyńska (1909-1984), is a seminal collection of poetry of witness. Divided into three sections, the poems document Świrszczyńska’s experience as a military nurse during the sixty-three days of the 1944 Warsaw Uprising.
In a statement regarding the publication of Building the Barricade Świrszczyńska wrote: “Life in Warsaw during the Uprising was a nightmare. The city was deprived of water, electricity, gas, and food supplies. For the most part, the sewer system did not function; the hospitals had no medicines or clean water. Day and night German bombers raged over the capital, burying the living beneath the rubble.”
“Anna Świrszczyńska's elemental, extractive accountings of the Warsaw Uprising present a history of pain and of personhood so irremediable and unembellished that neither can be stripped from even the dead. Building the Barricade, harrowing and demanding, here takes its place in English among the twentieth century's master works of war-witness.”—Jane Hirshfield
"'War made me another person,' said Anna Świrszczyńska. Building the Barricade is the outcome of that change in that it took thirty years for these experiences to find their way into language. But the poem is also, undoubtedly, an agent of change, for us as well as her. Stanza by stanza we see the speaker transformed, stripped of anything but the terrible truths she is recording."—Eavan Boland
Very Good copy in G—VG dust jacket with some edge wear esp to spine corners, preserved under archival mylar wrap.
2009, English / Spanish
Hardcover (w. dust jacket), 199 pages, 31 x 26 cm
1st Edition, Out of print title / as new
Published by
MoMA / New York
Museo Nacional Centro De Arte Reina Sofia / Madrid
$65.00 $50.00 - In stock -
First edition hardcover comprehensive catalogue on the avant-garde Latin American artists León Ferrari and Mira Schendel, published on the occasion of the major travelling exhibition organised by Luis Pérez-Oramas at MoMA, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and the Fundação Iberê Camargo, Porto Alegre, 2009—2010. Profusely illustrated with essays by Luis Perez-Oramas, Andrea Giunta, and Rodrigo Naves.
León Ferrari (Argentine, b. 1920) and Mira Schendel (Brazilian, b. Switzerland, 1919–1988) are considered among the most significant artists working in Latin America during the second half of the twentieth century. Their works address language as a major visual subject matter: the visual body of language, the embodiment of voices as words and gestures, and language as a metaphor of the worldly aspect of human existence through the eloquence of naming and writing. They produced their works in the neighboring countries of Argentina and Brazil throughout the 1960s and 1980s, when the question of language was particularly central to Western culture due to the central role taken by post-structuralism, semiotics, and the philosophy of language. Although their drawings, sculptures, and paintings are contemporary with the birth of Conceptualism, they are distinctively different, and have not yet been exhibited in their entirety in the United States.
As New.
1989 / 1994, English
Softcover, 47 pages, 27.5 x 21 cm
1st Edition, Out of print title / used / good
Published by
MediaKaos / San Francisco
Alecto Enterprises / San Francisco
$200.00 - In stock -
Very rare 1994 MediaKaos/Alecto Enterprises edition of Esoterrorist: Selected Essays 1980-1988 by Genesis P-Orridge, first published in 1989 by OV-Press in a limited edition of 500 copies. Thick screen-printed recycled cardboard covers. “The ideas of Genesis P-orridge, founder and spokesman of the legendary Throbbing Gristle and Psychic TV, are exposed for the first time. Genesis expands upon the theories on music, control, behavior, and the occult as introduced by the Temple ov Psychic Youth. No library of contemporary culture or the occult is complete without this revolutionary, revelationary work!”
Heavily illustrated throughout with Genesis' collage artworks and other illustrations.
"ESOTERRORIST is the product of one Brain's fascinating roller coaster ride along the fringes of culture and sexuality, a virtual mapping of the evolution of an ORIGINAL Cyber-Shaman. Genesis lets us assume that every "thing" is interconnected, interactive, interfaced and intercultural. His essays are all ways experimental, in that thee potential results are not a given, SPLINTERING consensual realities to TEST their substance utilising thee tools ov collision, collage, coumposition. decomposition, progression systéms, "random" chance, juxtaposition, cut-ups, hyperdelic vision and any other method available that melts linear conceptions and reveals holographic webs and fresh spaces. Genesis exposes control systems, explores the recesses of our psyches and leaps tall buildings in a single bound! Genesis uses X-ample to X-plain multi-faceted ideas, meditations, alternatives and processes that Individuals can use to X-termmate control. A "must read" for all trance/ dance/virtual/shamanic/multimedia/flux/tantrik/chaos/ processers, as well as everytwo else. I can think of no other contemporary book that packs more speculation per page. If you read only one book this year, make it this one and become an interactive particle in the ESOTERRORIST web so you WILL continue to exchange information instantaneously regardless of any separation in Time and Space. ESOTERRORIST is a living tome of contemptiorary, post-ritualised fundamentals whose words fuse into the very being ov the reader. Trans-form & Trans-gress within the fabric of ESOTERRORIST.
Joe Matheny; Timothy Leary; Genesis P-Orridge; Joe Rapoza.....?"
(from the back cover)
Good copy with general light tanning and handling wear and pinching creases to thick printed boards. Fragile binding on this edition but this copy all still nicely bound and no loose pages, which is rare.
1985, English
Softcover (w. paste-ins), 224 pages, 21 x 15 cm
1st Edition, Out of print title / used / very good
Published by
Atlas Press / London
$120.00 - In stock -
"A chrestomathy of dicey enchantments.'—CITY LIMITS
Now rare, long out-of-print 1985 Atlas Anthology 3, edited by Alastair Brotchie & Malcolm Green. "Benign Pollution, Enthused Writing". The third production from the legendary Atlas Press, the third general anthology and the first book to be actually typeset (a very expensive business in those days).
Features: Hans Carl Artmann, Pierre Albert-Birot, Wolfgang Bauer, Konrad Bayer, Pierre Bettencourt, Peter Blegvad, Andre Breton, Jean-Pierre Brisset, Günter Brus, René Crevel, David Gascoyne, Alfred Jarry, James Kirkup, Karl Kraus, Jean Lorrain, Harry Mathews, Gustave Meyrink, Pier Paolo Pasolini, Georges Perec, Benjamin Peret, Oskar Panizza, Raymond Queneau, Jacques Rigaut, Herbert Rosendorfer, Raymond Roussel, Paul Scheerbart, Mathew Phipps Shiel, Kurt Schwitters, Boris Vian, Austryn Wainhouse, Robert Walser, Unica Zürn, Etcetera Etc.
"Here is a prose based on Romanticism, in this century focused around the early Expressionism and the Surrealist movement. It is a literature of unusual beauty and bitter humour, political (in the widest sense), it asserts a complete freedom of form and content. Neither 'cool', restrained nor boring! An important collection of unjustly neglected authors, past and present, which includes many who are seldom translated into English."
Highest recommendation.
Good—Very Good copy complete with all the paste-ins. General wear and tanning.
1988, English
Hardcover, 286 pages, 23 x 14.6 cm
1st Edition, Out of print title / used / very good
Published by
Cambridge University Press / Cambridge
$60.00 - In stock -
Rare first 1988 hardcover edition, this book is a comprehensive study of the writings of Jean-Paul Sartre. As well as examining the drama and the fiction, the book analyses the evolution of his philosophy, explores his concern with ethics, psychoanalysis, literary theory, biography and autobiography and includes a lengthy section on the still much-neglected study of Flaubert, L'Idiot de la famille. One important aim of the book is to rebut the charges made by many theorists and philosophers by revealing that Sartre is in fact a major source for concepts such as the decentred subject and detotalised truth and for the revolt against individualistic humanism. Dr Howells also takes into account much posthumously published material, in particular the Chaiers pour une morale, but also the Lettres au Castor and the Cranets de la drole de guerre. The work is a substantial contribution to Sartre studies, but has been written with the non-specialist in mind; to that end all quotations are translated into English and gathered in an appendix.
Very Good copy.
1946, English
Hardcover, 286 pages, 19 x 13.5 cm
1st Edition, Out of print title / used / very good
Published by
Hutchinson International Authors / London
$40.00 - In stock -
Rare first English edition of Heinrich Mann's controversial "Man of Straw", published by Hutchinson International Authors Ltd. London, 1946, originally published in the German language by Leipzig K Wolff, Berlin in 1918. Der Untertan (literally "the underling", translated into English under the titles Man of Straw, The Patrioteer, and The Loyal Subject) is one of the best known novels of German author Heinrich Mann. An indictment of the Wilhelmine regime and a warning against the joint elevation of militarism and commercial values, "Man of Straw" was beloved in the Weimar Republic and burnt by the Nazis. The title character, Diederich Hessling, a dedicated 'Untertan' in the sense of a person subservient to a monarch or prince, is an immoral man who is meant to serve as an allegory of both the reign of Kaiser Wilhelm II and German society of his time. Hessling is the embodiment of the corrupt society in which he moves and his progression through life forms the central theme of this book.
The novel was completed during the July Crisis in 1914, shortly before the outbreak of World War I. Extracts had been published in the satirical magazine Simplicissimus from 1912 onwards, causing great controversy. Mann signed a contract with the magazine Die Zeit im Bild [de] for the publication of the censored version of the novel from the beginning of 1914, but on 1 August the publication was stopped as "inappropriate". A book edition was not published until 1918 by Kurt Wolff in Leipzig.
Luiz Heinrich Mann (1871—1950), best known as simply Heinrich Mann, was a German writer known for his sociopolitical novels. From 1930 until 1933, he was president of the fine poetry division of the Prussian Academy of Arts. His fierce criticism of the growing Fascism and Nazism forced him to flee Germany after the Nazis came to power during 1933. He was the elder brother of writer Thomas Mann. Mann's essay on Émile Zola and the novel "Der Untertan" (published over the years 1912-1918) earned him much respect during the Weimar Republic, since they satirized Imperial German society. Together with Albert Einstein and other celebrities during 1932, Mann was a signatory to the "Urgent Call for Unity", asking the voters to reject the Nazis. Mann became persona non grata in Nazi Germany and left even before the Reichstag fire of 1933. He went to France where he lived in Paris and Nice. During the German occupation, he made his way to Marseille, where he was aided by Varian Fry in September 1940 to escape to Spain. Assisted by Justus Rosenberg, he and his wife Nelly Kröger, his nephew Golo Mann, Alma Mahler-Werfel and Franz Werfel hiked for six hours across the border at Port Bou. After arriving in Portugal, the group stayed in Monte Estoril, at the Grande Hotel D'Itália, between 18 Sep and 4 Oct 1940. On 4 Oct 1940, they boarded the S.S. Nea Hellas, headed for New York City. The Nazis burnt Heinrich Mann's books as "contrary to the German spirit" during the infamous book burning of May 10, 1933, which was instigated by the then Nazi propaganda minister Joseph Goebbels.
VG copy with some light sunning and marking, lacking dust jacket. From the library of Melbourne artist and academic Bernhard Sachs (1954-2022). Name penned to blank endpaper.
1963, English
Softcover, 190 pages, 18.5 x 12 cm
1st Edition, Out of print title / used / good
Published by
Jupiter Books / London
$20.00 - In stock -
First 1963 Jupiter Books English edition, translated from French by David Watson.
This volume contains Eugene lonesco's The Killer, a play that is considered among his best and perhaps the most typical of his highly individual style, together with two shorter plays. These are The Chairs, perhaps the most famous and praised among his early work and Maid to Marry which shows lonesco in a different mood.
The last decade has seen lonesco emerge as the most famous figure in the 'theatre of the absurd' as it has come to be known. He is undoubtedly one of the most original and influential creative figures of the twentieth century and one of the half-dozen greatest living playwrights. This volume presents three of his most important and best-known plays, selected for the contrast they offer to each other.
Good—VG copy with some light cover rubbing and marking, otherwise VG.
1965, English
Softcover, 288 pages, 18.5 x 12 cm
1st Edition, Out of print title / used / very good
Published by
Jupiter Books / London
$60.00 - In stock -
First 1965 Jupiter Books English edition of Michel Butor's Passing Time, first published in France in 1956 as L'Emploi du temps, winning the 1957 Fénéon Prize.
"Michel Butor is perhaps the most gifted and original of that avant-garde group of young French writers who are seeking to regenerate the novel by means of a 'new realism'."—BBC
Frenchman Jacques Revel arrives in Bleston, an industrial city in the north of England—also a thinly disguised, reimagined Manchester—to begin employment as a shipping clerk. Lost under the spell of a dark, dank, labyrinthine metropolis, he endeavours to solve the puzzle of an attempted murder. We follow his erratic odyssey in diary form as a growing sense of unease envelops him and mysterious fires erupt throughout the city.
Passing Time, originally published in France as L'Emploi du temps (1956), is the great, forgotten Manchester novel, a book of enormous imagination and vitality. Melding Greek myth with Proustian method to formulate a brilliant study of alienation and the nebulousness of memory. A work that attempts to excavate Britain's proto-capitalist past and industrial forebears—interrogating their affect on modernity and the human soul.
"[Butor] is crammed, one might say, with positivity: it is the visible side of a hidden truth—once again literature defines itself by the illusion it is more than itself, the work being destined to illustrate a trans-literary order."—Roland Barthes
"Judging by this novel the experience [of working in Manchester] has marked him for life, for Passing Time is not so much a hymn, as a whole oratorio of hate. The mood suggests Kafka at his most paranoid; the method harks back to Virginia Woolf but here the stream-of-consciousness has become a turbid flood, the dark Irwell, mazy as the Ganges delta."—The Guardian
Michel Butor (1926—2016) was a French poet, novelist, teacher, essayist, art critic and translator, and one of the leading exponents of the nouveau roman (“new novel”) alongside Alain Robbe-Grillet, Claude Simon, Nathalie Sarraute, an avant-garde literary movement that emerged in France in the 1950s.
Very Good copy.
1990, English
Softcover, 144 pages, 20.5 x 14 cm
1st Edition, Out of print title / used / very good
Published by
City Lights Books / San Francisco
$40.00 - Out of stock
First 1990 edition of Shock Treatment, the collection of Karen Finley’s most provocative and acclaimed performance monologues, essays, and poems, with “The Constant State of Desire,” “We Keep Our Victims Ready,” “It's Only Art,” and “The Black Sheep.” Excoriating misogyny, homophobia, abusive families, greed, and state coercion of bodies and minds, Finley holds out hope for a world informed not by hate and fear, but by truth and unconditional love.
“If you haven’t read this book yet–buy it, take it home, and read it now! This is the work that made me get off my ass and actually do something, and it will inspire you, too.”–Kathleen Hanna, singer, Bikini Kill, Le Tigre and The Julie Ruin
“Finley’s Shock Treatment is more than just ‘art.’ It remains a searing and necessary indictment of America, a call to arms, a great protest against the injustices waged on queers and women during a time in recent American history where government intervention and recognition was so desperately needed. Twenty-five years on, Finley’s work continues to shock and provoke readers and audiences, demonstrating the powerful cultural and political impact her work has had on modern American art and performance art.”–Nathan Smith, Los Angeles Review of Books
No other artist captures the drama and fragility of the AIDS era as Karen Finley does in her 1990 classic book Shock Treatment. “The Black Sheep,” “We Keep Our Victims Ready,” “I Was Never Expected to Be Talented,”–these are some of the seminal works which excoriated homophobia and misogyny at a time when artists and writers were under attack for challenging the status quo. This twenty-fifth anniversary expanded edition features a new introduction in which Finley reflects on publishing her first book as she became internationally known for being denied an NEA grant because of perceived obscenity in her work. She traces her journey from art school to burlesque gigs to the San Francisco North Beach literary scene. A new poem reminds us of Finley’s disarming ability to respond to the era’s most challenging issues with grace and humor.
KAREN FINLEY’s raw and transgressive performances have long provoked controversy and debate. Karen Finley (b. 1956) is an American performance artist, musician, poet, and educator. Her raw and transgressive performances have long provoked controversy and debate. Her performance art, recordings, and books are used as forms of activism. Her work frequently uses nudity and profanity.Finley incorporates depictions of sexuality, abuse, and disenfranchisement in her work. She is a professor at the Tisch School of the Arts at New York University.
VG copy.
1999, English
Softcover, 96 pages, 13.5 x 21.5 cm
1st Edition, Out of print title / used / fine
Published by
Creation Books / London
$45.00 - In stock -
Dead Brides contains the vampire cycle of live stories, written between 1835 and 1842, which in many ways forms the nucleaus of Poe's prose work: Berenic, Montella, The Fall of the House of Usher, and The Oval Portrait. In these classic tales, Poe investigates the vampiric nature of human relationships, including love and lust both normal and incestuous, and develops his theme to observe the vampiric qualities inherent in the creative or artistic process.
Vampirism, with its terrible energy exchanges and lesions, is ultimately Poe's analogy for a love that persists beyond the grave - an all-consuming passion that knows no peace until an undead reconciliation is effected.
With a preface by Jeremy Reed, Dead Brides is illustrated by the lithographs of the Symbolist Odilon Redon, who was compelled to reproduce the most insane images from his unconcious through the inspiration of Baudelaire, Huysmans, and other dangerous writers of his age.
Near Fine copy.