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—FRI 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
Theory / Essay
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LGBTQ+
Fiction / Poetry
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Curatorial
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Out-of-print / Rare
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Signed Books
World Food Books Gift Voucher
World Food Book Bag
Australian Art
Australian Photography
Japanese Photography
Conceptual Art
Minimal Art
Dada
'Pataphysics / Oulipo
Fluxus
Concrete Poetry
Pop Art
Surrealism
Arte Povera
Arte Informale / Haute Pâte / Tachism
Nouveau Réalisme / Zero / Kinetic
Situationism / Lettrism
Collage / Mail Art / Xerox Art
Art Brut / Folk / Visionary / Fantastic
Illustration / Graphic Art / Bandes Dessinées
Furniture
Italian Radical Design / Postmodernism
Textiles
Ceramics / Glass
Counterculture
Protest / Revolt
Anarchism
Socialism / Communism / Capitalism
Literary Theory / Semiotics / Language
Feminism
Fetishism / BDSM
Drugs / Psychedelia
Crime / Violence
Animal Rights / Veganism
Occult / Esoterica
Ecology / Earth / Alternative Living
Whole Earth / Crafts
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.
1997, English
Hardcover (w. dust jacket), 198 pages, 33 x 27 cm
1st Edition, Out of print title / used / very good
Published by
Taschen / Cologne
$70.00 - Out of stock
First 1997 over-sized hardcover edition of "Beauty Parade" by American fetish photographer, erotica historian, photojournalist, and book editor, Eric Kroll (b. 1946, New York). Beauty Parade is an incredible collection of his 1990's erotic photographs, ranking among the absolute classics of fetishistic imagery. Rising from the downtown New York art and fashion scene of the 1970s and 80s, shooting for Elle Magazine, Vogue, The New York Times and Der Spiegel, Kroll published his first book, "Sex Objects" in 1976 with a grant from the New York State Council of the Arts, a book documenting sex workers across America. "Beauty Parade" follows on from his best-seller "Fetish Girls" (1994), full of powerful women and drawing one into a world of bizarre fantasies and sadomasochistic desires while retaining a sense of irony and surreal humour. Many of Kroll's photographs refer to and pay homage to his predecessors Weegee and Bunny Yeager as well as Eric Stanton and John Willie, while being grounded in the conceptual influences of artists such as Man Ray, and Marcel Duchamp. Text in English, German and French. Wonderful introduction by Kroll.
Very Good copy in VG dust jacket, light wear.
1989, Japanese
Softcover (w. dust jacket + ephemera), 96 pages, 42.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$200.00 - In stock -
Rare first 1989 Japanese edition of H. R. Giger's Biomechanics. In his classic series of oversized and visually immersive early art volumes, this book comprises a retrospective showcase, from 1964—88, of Giger's work, designed by and with running commentary by Giger himself, with over 200 drawings, paintings, and sculptures, and including concept art for the film Poltergeist II, and design paintings for Emerson, Lake, and Palmer albums, his lost film work and early cartoons. With a foreword by legendary Science Fiction author and longtime Giger fan Harlan Ellison, who dubs him "our latter-day Hieronymus Bosch."
Note: the Japanese editions of these books often had better reproductions from the original plates than the German and English language editions.
Includes Treville publisher ephemera inserted as issued, including an illustrated advert for Giger poster editions, etc.
Very Good in Very Good dust jacket. Excellent, well-preserved copy.
1996, Japanese
Softcover, 86 pages, 30 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$80.00 - Out of stock
First Japanese edition of the official companion book to the 1995 American sci-fi horror film Species (directed by Roger Donaldson and written by Dennis Feldman) and the film's artistic designer H.R. Giger, famous for his creations for the Alien film. This profusely illustrated "Making of" book is packed with reproductions of Giger's incredible conceptual drawings and models as well as photographs of special effects processes, Giger's set-design, animatronics, and creature fabrication, detailing all the work involved in bringing the science fiction creature Sil to the screen. Includes fold-out illustration of the famous "Ghost Train" and much more.
Very Good copy in VG dust jacket.
1996, English
Softcover, 328 pages, 18 x 22.2 cm
1st Edition, Out of print title / used / very good
Published by
The MIT Press / Massachusetts
$50.00 - In stock -
First 1996 edition printing, not the contemporary digital re-print.
In The Return of the Real Hal Foster discusses the development of art and theory since 1960, and reorders the relation between prewar and postwar avant-gardes. Opposed to the assumption that contemporary art is somehow belated, he argues that the avant-garde returns to us from the future, repositioned by innovative practice in the present. And he poses this retroactive model of art and theory against the reactionary undoing of progressive culture that is pervasive today. After the models of art-as-text in the 1970s and art-as-simulacrum in the 1980s, Foster suggests that we are now witness to a return to the real -- to art and theory grounded in the materiality of actual bodies and social sites. If The Return of the Real begins with a new narrative of the historical avant-garde, it concludes with an original reading of this contemporary situation -- and what it portends for future practices of art and theory, culture and politics.
Includes the work of David Hammons, Robert Gober, Mike Kelley, Marcel Duchamp, Alexander Rodchenko, Vladimir Tatlin, Dan Flavin, Carl Andre, Jasper Johns, Daniel Buren, Marcel Broodthaers, Michael Asher, Hans Haacke, Fred Wilson, Silvia Kolbowski, Larry Bell, Sol Lewitt, Richard Serra, Eva Hesse, Donald Judd, Tony Smith, Robert Morris, Robert Smithson, Jeff Koons, Haim Steinbach, Peter Halley, Ashley Bickerton, Ross Bleckner, Barbara Kruger, Sherrie Levine, Vito Acconci, Bruce Nauman, Gordon Matta-Clark, Frank Stella, Robert Rauschenberg, Andy Warhol, Allan McCollum, Gerhard Richter, Richard Estes, Richard Prince, Cindy Sherman, Kiki Smith, John Miller, Zoe Leonard, Gran Fury, Renée Green, Dan Graham, Martha Rosler, Allan Sekula, Mary Kelly, Silvia Kolbowski, Lothar Baumgarten, Fred Wilson, Jimmie Durham, and many more.
Very Good copy, light tanning to edges, ex-owner's name to title page.
1994, Japanese / English
Hardcover (w. corflute envelope slipcase), 196 pages, 32.5 x 23.5 cm
1st Edition, Out of print title / used / very good
Published by
Sequoia / Tokyo
$220.00 - In stock -
"I dedicate this book to all lives"
Very rare, first volume of the highly collectible cult classic two-volume death photo book series, SCENE, published in 1994 in Japan only. A lavish hardcover production filled with high-quality monochrome reproductions of anonymous, uncredited corpse photography, seemingly sociopolitical photo-journalism of human massacre stripped of text/language as a confronting stream of vivid and graphic images in conceptual photo book form. SCENE presents an unwavering, unapologetic exploration of a world usually hidden from view — the dead and death. Not for the faint of heart. Compiled by Kunio Shimizu and Yoichi Shibata for publisher Hirofumi Nagashima, SCENE is housed in an elaborate black button-and-tie-bound corflute envelope. Select plates have been featured in the pages of Kotaro Kobayshi’s underground publications TOO NEGATIVE and ULTRA NEGATIVE from the same period.
Fine copy with only standard storage wear from button-bind pressure to envelopes/wear to button metal.
2004, Japanese
Hardcover (w. slipcase), 48 pages, 27 x 19 cm
Signed and numbered edition,
1st Edition, Out of print title / used / very good
Published by
Seirin Kogeisha / Tokyo
$350.00 - In stock -
Very rare first Japanese edition of Picture Scroll of Pathos by ero-guro master Toshio Saeki (1945—2019), limited to only 1000 copies, numbered and this special copy signed by Saeki inside the cover! A gorgeous and rarely seen collection of Saeki's early manga works and picture stories that were originally published in the early 70's and thought to be lost, here reproduced impeccably in black and white with stunning multi-panel colour fold-out spreads. Hardcover bound in illustrated slipcase. Most complete.
Toshio Saeki (1945—2019) was an illusive Japanese illustrator and painter, and icon of 1970s Tokyo counterculture, known for combining Japanese folklore, Yōkai spirits and elements of Western art with his own sophisticated aesthetics to create a unique, sensational world of eros, dark humour, and horror. Given the title “Erotic Engineer” by Timothy Leary, Saeki's provocative art broke all sexual taboos, questioned Japanese ideology and traditional views on love, desire and gender roles. Saeki’s surgically-precise graphic work is closely related to the Japanese cultural phenomenon ‘Erotic, Grotesque, Nonsense’ (ero, guro, nansensu).
“Toshio Saeki conjures death with a pen”—Shūji Terayama, 1969.
Fine copy with Fine dj, slipcase. Signed in bold silver pen by Saeki.
1971, Japanese
Rigid softcover (in illustrated slipcase), 64 pages, 30 cm x 21 cm
1st Edition, Out of print title / used / very good
Published by
Gakugei Shorinsha / Tokyo
$400.00 - In stock -
Super rare and bookshop favourite early collection of artworks by ero-guro master Toshio Saeki (1945—2019), published in 1971 by Gakugeishorin. Stunning large-format softcover collection of exquisitely printed saturated full-bleed colour and b/w artworks on warm matte paper stock capturing this legendary underground artist at the height of his powers, housed in original publisher's cardboard slipcase. His third book collection featuring so many of his finest works. Postface by Hiraoka Masaaki in Japanese. A must!
Toshio Saeki (1945—2019) was an illusive Japanese illustrator and painter, and icon of 1970s Tokyo counterculture, known for combining Japanese folklore, Yōkai spirits and elements of Western art with his own sophisticated aesthetics to create a unique, sensational world of eros, dark humour, and horror. Given the title “Erotic Engineer” by Timothy Leary, Saeki's provocative art broke all sexual taboos, questioned Japanese ideology and traditional views on love, desire and gender roles. Saeki’s surgically-precise graphic work is closely related to the Japanese cultural phenomenon ‘Erotic, Grotesque, Nonsense’ (ero, guro, nansensu).
“Toshio Saeki conjures death with a pen”—Shūji Terayama, 1969.
Very Good copy. Very complete copy with slipcase and obi present. Some wear/marking to a VG slipcase.
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.
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 - Out of 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.
1971, English
Hardcover (w. dust jacket), 88 pages, 27.2 x 21.7 cm
1st Edition, Out of print title / used / good
Published by
Van Nostrand Reinhold Co. / New York
Studio Vista / London
$90.00 - In stock -
Very rare first 1971 US edition of Identity Kits: A Pictorial Survey of Visual Signals, by two of the of the most highly regarded graphic designers in the world, Germano Facetti and Alan Fletcher. Facetti (1928-2006) was an Italian graphic designer and art director at Penguin Books from 1962 to 1971. Fletcher (1931-2006) was a British graphic designer who founded Fletcher/Forbes/Gill with Colin Forbes and Bob Gill in 1962, which evolved into Pentagram in 1972, and co-founded British Design & Art Direction, along with David Bailey and Terence Donovan, which was later renamed Designers and Art Directors Association (D&AD).
"Identity Kits is a highly original approach to the complex interaction between the outward identity of the most familiar objects of our environment and some of their underlying symbolic associations.
Advertisements, body prints, clothing and cosmetics, food, games, money, marks and signs are not necessarily what they seem. In the same way that primitive man may invest inanimate objects with sacred and magic meaning and paint his face to convey his status within the tribe, so does civilized man use the material trappings of his surroundings as signals' to communicate to others. A certain length of hair will indicate a socio-political standpoint; a style of dress, a make of car or a brand of whisky are used consciously and unconsciously to reveal (or disguise) identity.
Covering a remarkable variety of categories - or identity kits' - over 280 provocative illustrations expose the ambiguous nature of identity, jog the preconceptions of mind and eye and hint at the layers of meaning that lie hidden in the visual flotsam of our everyday lives"
Very Good book, Average—Good dust jacket with small closed tears wearing to extremities, now protected under mylar wrap.
2008, English
Hardcover (w. obi-strip), 220 pages, 23 x 16 cm
1st Edition, Out of print title / used / very good
Published by
Walther König / Köln
$160.00 - Out of stock
First edition of this beautiful hardcover monograph on the work of Miroslav Tichý, published in 2008 by Walther König and quickly out of print. Profusely illustrated throughout with Tichý's works alongside informative background about the artist and his work by contributors Harald Szeemann, Carolyn Christov-Bakargiev, Clint Burnham, Roman Buxbaum.
After studying at the Academy of Arts in Prague, Miroslav Tichý, born in 1926 in the former Czechoslovakia, withdrew to a life of isolation in his hometown of Kyjov. In the late 1950s, he stopped painting and, during his daily walks, began to take photographs of women with cameras he made by hand. He mounted his prints on handmade frames and added finishing touches in pencil, shifting from photography to drawing. Disregarding the rules of photography, for four decades Tichý created a large oeuvre of poetic, dreamlike views of female beauty.
A former neighbor, Roman Buxbaum, discovered Tichý's hidden work in the 1980s and has been documenting and collecting it ever since. In 2004, the esteemed international curator Harald Szeemann mounted the first solo exhibition of the nearly 80-year-old artist. That same year, Tichý was given the Rencontres d'Arles Photographie Discovery Award and the Kunsthaus Zurich organized a large retrospective. Solo exhibitions at the Centre Pompidou in Paris and the Museum of Modern Art (MMK) Frankfurt followed in 2008. Tichý does not see his exhibitions, for he no longer leaves his house. This beautifully produced, thorough volume collects the work — perfectly.
Very Good copy with light wear. With original illustrated publisher's obi-strip.
1995, English
Softcover, 256 pages, 15.6 x 23.4 cm
1st Edition, Out of print title / used / very good
Published by
Pluto Press / London-Sydney
$25.00 - In stock -
Louis Althusser is one of France's foremost intellectuals of the postwar period. Controversial and influential, his writings and reputation have extended beyond the boundaries of his own country to leave a lasting mark on the ideas of others. In turn, Althusser found inspiration in many of Lenin's ideas and, in the first significant study of this association, Majumdar offers an objective reevaluation of Althusser's overt espousal of Leninism during the two decades up to the end of the 1970s. Focusing specifically on Althusser's attempt to rehabilitate Lenin as an academically respectable philosopher, rather than as a politician, Majumdar takes the assessment forward to evaluate Lenin's legacy today. Althusser's neglect of the significant contribution Lenin made to political theory and his subsequent shift away from Leninism at the end of the 1970s are also examined.
Margaret A. Majumdar teaches French Political Thought at the University of Westminster and is a member of the University of Westminster Francophone Africa Research Centre. She co-edits the Bulletin of Francophone Africa and has written widely on politics and philosophy.
Very Good—Fine copy.
1951, English
Hardcover (w. dust jacket), 184 pages, 32 x 24 cm
1st Edition, Out of print title / used / good
Published by
Swen Publications / New York
$25.00 - In stock -
1951 hardcover first edition.
"SINCE STALIN is a history of Communism.
SINCE STALIN is a contemporary history. The dark birth, the bloody adolescence, the sordid maturity of Communism are bracketed in our own lifetime.
SINCE STALIN is a true history. It traces the road of Communism with the original milestones re-stored, not as they have been shifted or shattered by the Kremlin's hacks and apologists. A complete bibliography-index cites the varied sources of the text, and each of the 425 photographs-many of them rare, some of them hitherto suppressed— has been painstakingly authenticated."
Good—VG copy in Average—Good dust jacket with wear to edges.
1978, English
Hardcover (w dust jacket), 286 pages, 22 x 31 cm
1st Edition, Out of print title / used / very good
Published by
Holt Rinehart & Winston / Chicago
$20.00 - In stock -
First 1978 hardcover edition of Russia in Revolution, 1900-1930, Salisbury's narrative and pictorial portrait of the political and artistic upheaval that changed the course of Russian history and culture during the first three decades of the century. Profusely illustrated with photographic documents and graphics.
VG in G—VG dust jacket.
1957 / 1984, Polish / English / French / German
Hardcover (w. dust jacket and slipcase), 319 pages, 25 x 34 cm
Out of print title / used / very good
Published by
PAX / Warsaw
$100.00 - In stock -
Stunning 1984 hardcover, slip-cased re-print of 1957's Dni Powstania, a gripping pictorial account of the 1944 Warsaw Insurrection, profusely illustrated with b/w reproductions of photographs taken by Polish soldiers. "This album illustrates the struggle waged during those sixty three days. Unfortunately, the picture is incomplete. Difficult fighting conditions often made it impossible to photograph some of the most important scenes and actions, in spite of the heroic efforts of the photographers. A number of pictures were destroyed when their authors met their death or were taken prisoners. But even those photographs that survived destruction and are now being shown in this collection serve as evidence of what the Warsaw Insurrection stood for, and record the heroism of its soldiers. This album is being published so that their memory may live forever."
The Warsaw Uprising was a major World War II operation by the Polish underground resistance to liberate Warsaw from German occupation. It occurred in the summer of 1944, and it was led by the Polish resistance Home Army. The uprising was timed to coincide with the retreat of the German forces from Poland ahead of the Soviet advance. While approaching the eastern suburbs of the city, the Red Army temporarily halted combat operations, enabling the Germans to regroup and defeat the Polish resistance and to destroy the city in retaliation. The Uprising was fought for 63 days with little outside support. It was the single largest military effort taken by any European resistance movement during World War II.
Incredible book, seldom seen outside Poland.
Text in Polish. Summary in English, French and German.
Very Good copy book in heavy black debossed and red ink stamped boards, Good—VG dust jacket with edge scuff wear, particularly to the spine edges, Good—VG slipcase with printed paste-on, light edge tanning/wear.
1957, Polish / English / French / German
Hardcover (clothbound), 319 pages, 25 x 34 cm
1st Edition, Out of print title / used / good
Published by
PAX / Warsaw
$70.00 - In stock -
First 1957 hardcover edition of Dni Powstania, a gripping pictorial account of the 1944 Warsaw Insurrection, profusely illustrated with b/w reproductions of photographs taken by Polish soldiers. "This album illustrates the struggle waged during those sixty three days. Unfortunately, the picture is incomplete. Difficult fighting conditions often made it impossible to photograph some of the most important scenes and actions, in spite of the heroic efforts of the photographers. A number of pictures were destroyed when their authors met their death or were taken prisoners. But even those photographs that survived destruction and are now being shown in this collection serve as evidence of what the Warsaw Insurrection stood for, and record the heroism of its soldiers. This album is being published so that their memory may live forever."
The Warsaw Uprising was a major World War II operation by the Polish underground resistance to liberate Warsaw from German occupation. It occurred in the summer of 1944, and it was led by the Polish resistance Home Army. The uprising was timed to coincide with the retreat of the German forces from Poland ahead of the Soviet advance. While approaching the eastern suburbs of the city, the Red Army temporarily halted combat operations, enabling the Germans to regroup and defeat the Polish resistance and to destroy the city in retaliation. The Uprising was fought for 63 days with little outside support. It was the single largest military effort taken by any European resistance movement during World War II.
Incredible book, seldom seen outside Poland.
Text in Polish. Summary in English, French and German.
Good copy with foxing, marked and dusty cloth, edge wear, particularly to the spine edges, tanning.
1977, English
Hardcover (w. dust jacket), 88 pages, 28.5 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Greenhouse Publications / Carlton
$35.00 - In stock -
First hardcover 1977 edition.
"This book is a study in both the technology and the cultural history of our forebears. It looks at how they built their structures, how they derived their techniques from traditional methods of Britain and Europe, and how they developed purely colonial innovations, such as the bark roof.
The numerous illustrations in these pages have been chosen, not merely for their pictorial qualities, but for the specific information they convey about this largely uncharted topic, and they include some rare contemporary material from both local and overseas sources."
VG copy / VG dust jacket.
1992, English
Softcover, 396 pages, 25.5 x 25.5 cm
1st Edition, Out of print title / used / very good
Published by
Macmillan / New York
$60.00 - Out of stock
First 1992 edition of The Pictorial History of the Holocaust by Yitzhak Arad, an unbelievably vivid chronicle of the Nazi "Final Solution", with more than 400 photographs. "Although many books chronicling the Holocaust contain pictures ... there has never before been one as expansive as this. These photographs demonstrate in the most powerful way the depths to which mankind can sink".—Booklist.
VG copy with some light wear and spine creasing.
1986, English
Hardcover (w. dust jacket), 184 pages, 25.5 x 19.5 cm
1st Edition, Out of print title / used / very good
Published by
Weidenfeld & Nicholson / London
$25.00 - In stock -
First 1986 hardcover edition.
"Reg Gadney's chronicle of the Hungarian revolution of 1956 brings to life with accuracy the drama of that extraordinary event, which still today has the power in this book to move me to tears?"—Michael Korda, author of Charmed Lives
CRY HUNGARY! takes us straight back to those thirteen days in October, 1956, when the Hungarian people rose up against the crushing Soviet occupation of their country. It was a spontaneous people's uprising: Hungarians from every class and occupation banded together. Workers and intellectuals, in the capital Budapest, and in the provinces, demonstrated for freedom. Stalin's great statue was torn down and broken up in the streets; members of the hated secret police were hunted out and killed. The Hungarian army refused to act against their compatriots and politicians responded to their people's demands.
At first the Russians retreated, but when they saw that there was nothing to fear from the West but fine words, their tanks rolled back into Budapest. A frantic defence ensued, but the Hungarian people had no weapons to match the steel might of the USSR, and finally they were forced to admit that Russian imperial power would never be relaxed.
This tragic but inspiring story is told by Reg Gadney in a dramatic narrative that draws on radio transcripts and eyewitness accounts and is illustrated by the many starkly moving and memorable photographs taken by the great photo-journalists who were in Budapest that October. Today, as George Mikes in his introduction records, a prosperous and not altogether oppressed Hungary wishes to forget the blood and suffering of an older generation, but for the refugees who fled to Western Europe and to the United States, CRY HUNGARY! will provide a unique record of a tale of glorious victory and bitter defeat.
VG book VG DJ
1983, Japanese
Softcover (w. dust jacket in slipcase), 158 pages, 30.5 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Canon / Tokyo
$140.00 $100.00 - In stock -
First 1983 Japanese slipcased edition of this remarkable photo collection by American-born Japanese photographer Yasuhiro Ishimoto (1921—2012). A student of Harry Callahan and Aaron Siskind, and graduate of the New Bauhaus in 1952, Ishimoto was an important figure in the cross-pollination of photographic ideas and styles between American and Japanese photography. After graduating he lived in Japan, then returned and stayed in Chicago from 1958—1961, and in 1969, published his acclaimed photo book "Chicago, Chicago", a collection of photographs taken during his two stays during his student days and after graduation. His portrait of a city is a rich study of time and place — his photographs of streetscapes and ordinary people captured the candor, anxiety, paradoxes, and joy of modern urban life through a sensitive and deliberate lens. It is highly regarded as a masterpiece in the history of Japanese photography, and featured in Parr/Badger Photobook History Volume I. In addition to incredible unpublished photographs from the first book collection, "Chicago, Chicago 2", published by Canon in 1983, contains photographs taken when visiting Chicago again in 1982. Ishimoto’s work was exhibited widely in the United States and Japan during his lifetime, and two of his photographs were featured in the monumental 1955 Museum of Modern Art exhibition "The Family of Man".
Very Good copy preserved in original publisher's slipcase, light wear and tanning to spine edge.
1952, German
Hardcover (Vol. I w. dust jacket, clothbound), 272 + 272 pages, 30 x 22 cm
1st Edition, Out of print title / used / good
Published by
Burda Druck und Verlag / Baden
$90.00 - In stock -
Both volumes of The Second World War in Pictures / Der zweite Weltkrieg im Bild, Vol I — From Nürnberg to Stalingrad + Vol II — From Stalingrad to Nürnberg, clothbound and gilded hardcovers, published in 1952 by Burda Druck und Verlag, Baden. 544 pages of over 1200 gravure photographs with commentary documenting everything from the 1938 Nazi Party days to the Nuremberg trials. Many of the photos (German war photos and photos taken by the Allies) were never published before and none were sanitized, so readers would be confronted with every horrifying aspect of World War II. Incredible and harrowing imagery with beautiful printing.
Der Zweite Weltkrieg im Bild Volume I has coverage of the great triumphs and victories of the Third Reich. Nazi dignitaries admiring the might of the Wehrmacht at Reichsparteitag 1938, the September 1938 Munich Agreement, the Nazi invasion of Poland, the establishment of the first Jewish ghettos, the Wehrmacht in Norway, the victorious battle on the west front in 1940, U-Boot battle at Scapa Flow, air victories over England, the Italian entry into WW2, the Axis Agreement, the start of the war in the Balkans and Greece, the DAK in North Africa, the start of Operation Barbarossa, heavy fighting in Ukraine, Pearl Harbor, to the first defeat on the east front.
Der Zweite Weltkrieg im Bild Volume II shows the grim “Total War” in Germany. Defeat on the battlefield in the Soviet Union and Crimea, and destroyed Kriegsmarine ships and submarines at sea, the American entry in the war in North Africa, the D-Day invasion of Normandy and Allied landings in the south of France, the 20 July 1944 plot to kill Hitler, Allied air raids on German cities, the Battle of the Bulge, the Red Army in East Prussia, Silesia and Pomerania, the battle for Berlin, Hitler’s death, Hermann Goering’s capture, Mussolini’s end, German capitulation, the Potsdam Conference, all the way to the Nuernberg Trials.
Average—Good copies, volume I with poor dust jacket (creased and torn), both copies with with tanned page edges, rubbed/dusty cloth and wear to board extremities.
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.