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Come say hi at the printed matter book fair. We’re a bit hidden in booth C21.

Come say hi at the printed matter book fair. We’re a bit hidden in booth C21.

Come say hi at the printed matter book fair. We’re a bit hidden in booth C21.

Come say hi at the printed matter book fair. We’re a bit hidden in booth C21.

In Issue 16, Jamie Hood reviewed I Only Believe in Myself, a book that culls 30 hours of conversations between Murielle Joudet and Catherine Breillat.

Joudet walked into these conversations with “the arrogance of a critic,” only to continually run into the “monstrous wall” of Breillat’s intellect. What ensues is a chronological discussion of Breillat’s filmography and the very French auteur’s commitment to the unfilmable parts of girlhood — shame, transgression, disgust, barbarism.

Join Lux for a return of our popular book club, this time on I Only Believe in Myself. Hood, author of Trauma Plot: A Life, will lead the discussion of Breillat’s deformed ethics and uncompromising artistry, along with Lux editor Michelle Santiago Cortés.

The book club is free for subscribers and will meet on Wednesday, June 24 at 7:00pm ET over Zoom. Sign up with the link in our bio by Friday, May 8. We’ll share a discount code to order the book from our friends at Firestorm Books.

Join us for a reading and talk with an eclectic and international group of writers. Hedi El Kholti and Chris Kraus, co-editors and stewards of Semiotext(e), shall share the afternoon with Constance Debré, Jane Delynn, Robert Dewhurst, Jennifer Doyle, William E. Jones, Jarett Kobek, Veronica Gonzalez Peña, John Tottenham, and Noura Wedell to read short excerpts from the independent press’ backlist of 200+ titles published over the last fifty years.

This event celebrates Desert Islands—Semiotext(e)‘s Bookshelf Residency at ICA LA that spotlights the iconic work of this Los Angeles-based press. Founded in 1974 by the late writer and critic Sylvère Lotringer, Semiotext(e) is known for its provocative, timely, and dazzling mix of contemporary art, philosophy, queer culture, literature, analysis, and activism.

These readings will accompany a conversation with Semiotext(e)’s managing editor, artist, and writer Hedi El Kholti and writer and co-editor Chris Kraus; moderated by Lauren Mackler, independent curator.

Mark your calendars for the opening of two, simultaneously running exhibitions: PUBLICS invites 𝗙é𝗹𝗶𝗰𝗶𝗮 𝗔𝘁𝗸𝗶𝗻𝘀𝗼𝗻 & 𝗔𝗶𝗻𝗼 𝗟𝗶𝗻𝘁𝘂𝗻𝗲𝗻 to exhibit together as our seventh 𝗖𝗢𝗨𝗣𝗟𝗜𝗡𝗚 exhibition alongside a 𝗖𝗢𝗨𝗣𝗟𝗜𝗡𝗚 with publishers 𝗦𝗲𝗺𝗶𝗼𝘁𝗲𝘅𝘁(𝗲) & 𝗦𝗵𝗲𝗹𝘁𝗲𝗿 𝗣𝗿𝗲𝘀𝘀, opening on 𝗠𝗮𝘆 𝟭𝟮 and running until June 17✨

Save the date:

✦ 𝗠𝗮𝘆 𝟭𝟮 17:30-19.30 Coupling exhibition preview opening
✦ 𝗝𝘂𝗻𝗲 𝟰 Sound Performance ’Monivuotiset kasvit’ by Félicia Atkinson

Initiated in 2021, Coupling is an expanding series of curatorial projects, collaborations, or pairings, where two artists/ practitioners are introduced to one another for the first time and show together because of some common concerns within their work.

✦ COUPLING Félicia Atkinson & Aino Lintunen brings together an exhibition of drawings by both artists.@felicia_atkinson @a.lintunen

✦ COUPLING Semiotext(e) & Shelter Press is a curated selection of publications by Chris Krauss / Semiotext(e) and Bartolomé Sanson & artist Félicia Atkinson / (Shelter Press). The exhibition comprises publications and records, and a pop up shop for the duration of the exhibition.@semiotexte @shelter_press

A record playing station wil be available at PUBLICS to play copies of Shelter press recent releases.

The exhibitions are open at PUBLICS 𝗪𝗲𝗱𝗻𝗲𝘀𝗱𝗮𝘆–𝗙𝗿𝗶𝗱𝗮𝘆 between 𝟭𝟮–𝟭𝟲.𝟬𝟬 and by appointment until June 17 2026.

Read more about the two exhibitions and the artists at publics.fi.

PUBLICS partners with Saastamoinen Foundation 2023-2028 @saastamoinenfoundation

Mark your calendars for the opening of two, simultaneously running exhibitions: PUBLICS invites 𝗙é𝗹𝗶𝗰𝗶𝗮 𝗔𝘁𝗸𝗶𝗻𝘀𝗼𝗻 & 𝗔𝗶𝗻𝗼 𝗟𝗶𝗻𝘁𝘂𝗻𝗲𝗻 to exhibit together as our seventh 𝗖𝗢𝗨𝗣𝗟𝗜𝗡𝗚 exhibition alongside a 𝗖𝗢𝗨𝗣𝗟𝗜𝗡𝗚 with publishers 𝗦𝗲𝗺𝗶𝗼𝘁𝗲𝘅𝘁(𝗲) & 𝗦𝗵𝗲𝗹𝘁𝗲𝗿 𝗣𝗿𝗲𝘀𝘀, opening on 𝗠𝗮𝘆 𝟭𝟮 and running until June 17✨

Save the date:

✦ 𝗠𝗮𝘆 𝟭𝟮 17:30-19.30 Coupling exhibition preview opening
✦ 𝗝𝘂𝗻𝗲 𝟰 Sound Performance ’Monivuotiset kasvit’ by Félicia Atkinson

Initiated in 2021, Coupling is an expanding series of curatorial projects, collaborations, or pairings, where two artists/ practitioners are introduced to one another for the first time and show together because of some common concerns within their work.

✦ COUPLING Félicia Atkinson & Aino Lintunen brings together an exhibition of drawings by both artists.@felicia_atkinson @a.lintunen

✦ COUPLING Semiotext(e) & Shelter Press is a curated selection of publications by Chris Krauss / Semiotext(e) and Bartolomé Sanson & artist Félicia Atkinson / (Shelter Press). The exhibition comprises publications and records, and a pop up shop for the duration of the exhibition.@semiotexte @shelter_press

A record playing station wil be available at PUBLICS to play copies of Shelter press recent releases.

The exhibitions are open at PUBLICS 𝗪𝗲𝗱𝗻𝗲𝘀𝗱𝗮𝘆–𝗙𝗿𝗶𝗱𝗮𝘆 between 𝟭𝟮–𝟭𝟲.𝟬𝟬 and by appointment until June 17 2026.

Read more about the two exhibitions and the artists at publics.fi.

PUBLICS partners with Saastamoinen Foundation 2023-2028 @saastamoinenfoundation

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

Remember when desire was not painful, but f*cking funny? Clowns do.

Long overshadowed by less carnivalesque forms of comedy, clowning—utterly vaudevillian, earnestly desperate, childishly physical—is bewitching and bewildering audiences tired of nihilistic tirades, who are instead in pursuit of catharsis and connection. Puppet shows are taking over prestigious theaters, clowns are starring in steamy romantic dramas, and psychoanalysts are enrolling in clown school.

This increased visibility is a sign of the times. On a recent panel about comedy at the New Orleans Book Festival, Danzy Senna posited that satire might not be a useful comedic mode in apocalyptic circumstances. Sartre famously distinguished between rebels, who want the system to remain the same so they can continue rebelling against it, and revolutionaries, who are willing to risk their own obsolescence in the service of genuine change. Where a satirist might rebel, clowns—the ultimate failure artists—manage to enjoy getting flamed by the society that their revolution galvanizes.

Next month, @dopaminebooksla, through the independent press @semiotexte, will release an anthology entitled Clowns, edited by poet, memoirist, and editor @michelleteaz. Ahead of its publication, Books Editor @emmelc called Tea to spill the tea on the jester’s privilege, the humor inherent in mourning, resistance, and more.

Link in bio to read their conversation.

Words: @emmelc

“Offenses” (@semiotexte), Constance Debré’s (@constancdebre) latest novel following her first-person trilogy—“Playboy” (2018), “Love Me Tender” (2020), and “Name” (2022)—is an angry book. Set in a suburban housing development outside Paris, it tells the story of an unemployed young man who kills his elderly neighbor over a €450 drug debt. Dense with fatalism and irreconcilable dichotomies, “Offenses” draws from a real murder case in which Debré was involved as a lawyer, exposing how violence runs deeper than the act itself: into class, justice, family, and the social structures that make some lives disposable.

In conversation with Mousse senior editor Chiara Moioli (@imsoemptyilikememes), Debré speaks of the unstable antagonism between good and evil; a society that judges to avoid dealing with its all-encompassing hypocrisy; and her relentless search for a literature of truth that refuses comfort and consensus.

Follow the link in bio to read the conversation and an excerpt from the book.

Photo: Kalpesh Lathigra (@kalpeshlathigra)

Tuesday, March 31, 2026. Doors 7:00 pm. Reading 7:30 pm.

Please join Semiotext(e) and the Poetic Research Bureau as we celebrate the launch of Constance Debré's OFFENSES followed by a discussion with Fiona Duncan.

Since publishing her first novel in 2018, Constance Debré’s work has exposed the flaws in the social order with dizzying passion and intelligence. Her first-person trilogy—Playboy, Love Me Tender, and Name—describes the trajectory of leaving a comfortable bourgeois life as mother and wife employed as a criminal justice attorney to become a writer and lesbian. Her books radically challenge all received ideas of the couple, motherhood, family, and inheritance.
In Offenses, Debré trains her sights on a single case of inevitably flawed justice that, like hundreds of others, reveals the enmeshed culpabilities of the perpetrator, the victim, the place, and the past. In a housing project adjacent to Paris, an unemployed teenager kills his elderly neighbor in order to pay off a drug debt of €450. Writing with impassioned detachment, Debré uses forensic detail to explore the ambient senselessness behind this senseless crime.
“There is a geography,” Debré writes. “We live in a vertical world, you don’t see. A world made of worlds. Not side by side but set concentrically and upon one another. A bit like Middle Age representations of the universe, a bit like Dante’s circles of hell. Each world only communicating with the worlds directly in contact with it and none of the others.”
In Offenses, Debré scathingly describes the misery of poverty and the absence of any horizon beyond.

---------
Praise for Constance Debré:

“The most compulsive voice I’ve read in years.”―Olivia Laing

“Written with edge and urgency in a voice that is both vulnerable and in full command”―Colm Tóibín

“I find Debré’s exquisite achievement not to reside in the realm of advice or guides for living. It’s in that cold sliver of voice, conducting electricity at a high voltage, sending the occasional shower of sparks off the page.”—Christine Smallwood

I’m happy to announce BASTARDS will be published in the US and Canada by @semiotexte on September 29.Available for preorder now.For review copies contact info@semiotexte.com

*

Nate Lippens is the author of the acclaimed novels MY DEAD BOOK, a finalist for the Republic of Consciousness Prize, and RIPCORD, a New Statesman Book of the Year. He completes his Wisconsin trilogy with BASTARDS, a book of losses, memories, and survival.

*

Recently sprung from a stint on a psychiatric ward, the narrator of BASTARDS works hard to perform at being a person while questioning the concept of identity and what it means to be an aging working-class gay man when the word queer has become so elastic and gentrified it’s used to conservative ends. Struggling to survive, pay rent, and navigate a hostile world, he takes solace in art and his friends and measures what makes a life.

Borrowing from the tropes of fragmented lyric essays, New Narrative, autofiction, and transgressive literature, Lippens is a bricoleur who creates a confected new form in his short novels. Queer pessimism in the age of affirmation. A search for something honest. An old queen’s cackle.

*

“I can’t say enough about how good Nate Lippens’s books are” Gary Indiana

“Nate Lippens is a brilliant writer, and a much-needed voice among the new crop of queer novelists. His portrayals of working-class queers, ex-members of the queercore movement, recovering addicts, and artists, feels new, though somehow also a part of a nearly lost family of queer thinkers: the writers and artists his characters still cherish.” Chicago Review of Books

“His bracing novels represent an honest reckoning with the post-AIDS era and its effect on life and imagination.” The Nation

“What a gift to encounter such intelligent homosexuality!” Robert Glück

*

Cover image: Ray Dean, ‘Derek Jarman in Islington’, 1968. Courtesy the artist.

My Translation Shelf

#LiteratureinTranslation
Published by @semiotexte

My Translation Shelf

#LiteratureinTranslation
Published by @semiotexte

"Lee (Krasner) and Elaine (de Kooning) are caught being hot for each other in the afterlife in prose that turns like the daily news if it were happily full of bondage, art history, and female sexual nature getting off in the most lurid and dirty of all places: midlife."
—Eileen Myles

"I know no other voice as full of surprises and unexpected, startling insights, championship chess moves disguised as digressions, as Ann Rower’s. Her sleight-of-hand modesty, the deadpan tone, is the highest form of aesthetic cunning. She isn’t only a born storyteller, though she is that. She’s a born truth teller, too: a much rarer bird, especially these days."
—Gary Indiana

Ann Rower’s forgotten turn-of-the-millennium classic is out now, via @semiotexte

Follow the link in bio to learn more and order your copy.

Thank you Henry Broome for the perceptive review of Constance Debré’s Offenses in the new issue of BOMB:

“The reader is implicated in his fury: "I think you know quite well that you're feeding off of us," he accuses. Debré contrasts the murderer with liberal society's passivity, its refusal to see the pain of others and to acknowledge responsibility for their suffering. The banlieues, the foster children, the prisons pay for the middle class's cate terraces, their good taste, and books: "That's how things work. You live off of our damnation. The law is that." Bleak, thudding, never letting up, Offenses is also a moral reckoning. Debré forces all participants in this system to interrogate "whatever void within yourselves you're battling."

This coming Tuesday, March 24 at 7 p.m., Marciano Art Foundation is delighted to host a conversation between film critic @hamrahrama and curator/filmmaker @cvall96, discussing Hamrah’s two new book releases, the state of cinema and much more.

Limited quantities of each book will be available from @booksoup and able to be signed by Hamrah.

Special thanks to @nplusonemag and @semiotexte for their support of the event.

The talk falls shortly after the 2026 Oscars, which very well may be a topic of discussion on Tuesday evening and of which Hamrah’s analysis “Pulling Bolts Out of the Ferris Wheel” can be read on @nplusonemag website.

We look forward to having all in attendance for this special event.