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, Sat 12–5
WEB-SHOP OPEN 24/7
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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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.
<a href=http://wfb.public-office.info/artist/john-nixon>All titles by John Nixon
"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.
$.00 - Out of stock
The eternal clean out! New items weekly.
https://worldfoodbooks.com/category/sale
Published by World Food Books / Melbourne
$20.00 - In stock -
A World Food Books gift voucher is redeemable in our Melbourne bookshop or via our webshop (here). An e-voucher (printable pdf) will be sent to your purchase email address (please notify us if you wish to have the voucher sent to an alternate address and wish us to fill in the receiver's details on the card).
Gift vouchers can be purchased in increments of $20 (Australian Dollars) and the total amount can simply be added to by increasing the quantity in your shopping cart. eg. A quantity of 5 gift vouchers will result in an item total of $100 - a $100 gift voucher. Simply click "ADD TO CART" 5 times, or update your quantity in the shopping cart.
If you wish to purchase multiple, separate gift vouchers in one go, please just email us and we can personally prepare and email you a payment request.
Please note: Please select Pick-Up on gift voucher purchse to avoid any postage charges. Accidental postage charges will be refunded right away!
Thank you.
For any questions, please don't hesitate to email: [email protected]
2024, English
Softcover, 416 pages, 21.6 x 13.8 cm
Published by
SPBH Editions / UK
$89.00 $65.00 - In stock -
The cult periodical Little Joe, published as a limited-edition zine from 2010 to 2021, challenged the mainstream narrative of film history with a rebellious, queer perspective. Rather than reviewing new releases, it explored forgotten and overlooked films and celebrated a diverse spectrum of cinema – from obscure art films to porn to Hollywood classics – as worthy of critical debate. Stubbornly print-only, Little Joe was notoriously hard to find, privileging word-of-mouth distribution akin to the films it championed. This volume, compiled by editor-in-chief Sam Ashby, brings together the best of its previously elusive texts and proposes a new, alternative cinematic canon drawn from the fringes of taste and style, while paying homage to the original DIY Risograph aesthetic of the journal.
This volume features essays, in-depth conversations, short stories and archival discoveries from a host of queer and allied writers, artists, filmmakers, and academics, including John Waters, Sarah Schulman, Douglas Crimp, William E. Jones, Erika Balsom, Jeremy Atherton Lin, John Greyson, Elizabeth Purchell, Liz Rosenfeld, Peter Strickland, Ira Sachs, Terence Davies, Shu Lea Cheang, Kevin Killian, Wayne Koestenbaum, Abdellah Taïa, Marlene McCarty, John Cameron Mitchell, Rosa von Praunheim, Stuart Comer, Ed Halter, Jenni Olson, A.L. Steiner, A.K. Burns, Desiree Akhavan, and Andrew Haigh.
2026, English
Softcover, 256 pages, 21 x 14.7 cm
Published by
SMUT Press / London
$65.00 - In stock -
SMUT Press is proud to present Cruising Archaeology II: Eurotrash, the long awaited follow-up edition to the 2024 cult bestseller; Cruising Archaeology. Cruising Archaeology II: Eurotrash is the tenth printed matter produced by the press and will launch in a series of launches across sex clubs, saunas and book fairs across Europe, starting at MA1: Bunker in Old Street in London.
The project builds on the initial edition’s success by expanding the breadth of archaeological sites to various locations scattered across European cities including Berlin, Athens, Dublin, Barcelona and Paris. The diversity of cruising areas in this edition, including woodland areas, public toilets, palatial gardens, sex clubs and beaches, speak to the inventive, site-responsive forms that cruising assumes and situating desire within the folds of city infrastructure and natural landscape.
Much like its predecessor, the book pairs vivid scans of collected objects with writing that contextualises, complicates and historicises cruising’s material traces. Featured texts include interviews with Marc Svensson of You Are Loved, a London-based harm reduction initiative, and with Mati Klitgård of Gay Consent.Lab in Berlin - both offering urgent perspectives on chemsex, intimacy, and consent in contemporary queer life. Other contributors include Stav B, whose piece addresses the persistent erasure of lesbian cruising spaces, Jordan Tannahill’s piece recounts a wild night in Hampstead Heath, evoking the fantasy and libidinal charge of cruising grounds whilst Prem Sahib’s insert ‘Vape’ responds to the complicated relationship between the digital and the physical. João Florêncio’s powerful opening piece in the publication, titled ‘Fucking Ruins,’ interlaces queerness with empire, hauntology and decay.
The publication retains the pocket-sized paperback format of the first edition with the book’s design researched and assembled by designer John Philip Sage. Printed in Lithuania, distributed by Public Knowledge Books.
2024, English
Softcover, 200 pages 21 x 14.7 cm
Ed. of 350,
1st Edition, Out of print title / as new
Published by
SMUT Press / London
$200.00 - In stock -
First, only edition of 350, quickly out–of–print.
Initially born from an Instagram account bearing the same name, this project is a careful process of selection and curation that sees the anonymous artist reconstitute detritus and debris discarded in over half a dozen renowned cruising locations around London into cultural artefacts. Positioning archaeology as its point of departure, over 100 unique relics not only uncover and investigate the types of sex and pleasure that happen in cruising areas through a material culture lens, but also serve as a testimonial to the often invisible sexual practice.
Accompanying the series of scanned objects is a foreword by Marcus McCann, author of ‘Park Cruising: What Happens When We Wander Off Path’ (2023) as well as an interview with OWL, a volunteer litter-picking group in one of the cruising sites and a report on ‘Jurassic’ a renowned local cruising site in Medellín by academic David Edgar.
The soft-cover 200 page publication is purposely pocket sized, intended to be utilised as a nu-hunter’s-guide for those who cruise. The book’s design has been thoughtfully researched and assembled by London based designer Marco Cacioni.
Edition of 350
As New copy, light corner wear.
2023, English
Hardcover (w. dust jacket), 224 pages, 29 x 29 cm
Published by
George Schwarz and Charis / East Sydney
$190.00 - In stock -
Powerful Paradise the Art of George Schwarz and Charis is an artists book, a collaboration between George Schwarz, his partner Charis, Linda Dement and Craig Judd. It is an introduction to a wonderful life and to beautiful, complex and intriguing art. Ernest Georg Schwarz and Charis Elizabeth McKittrick enjoy a unique partnership beginning 1964. The word collaborators in this case is an inadequate descriptor. In their presence one is witness to but a force of nature, a swirling vortex of creative mutuality. Simultaneously lovers, artists, apiarists, activists, authors, film and wine makers, 'Powerful Paradise' is a celebration and a legacy.
This extremely limited hardcover edition is the first survey of the couple's life in art, the last survivors of bohemian Kings Cross. Creators of the first Australian hardcore sex films to be passed by the censors (and also refused classification), George and Charis were ahead of the curve in every aspect of their practice. This volume features the only writing covering their film output, extensive photographic work and global travels. Simultaneously erotic, taboo, progressive, liberated; lives dedicated to their work and one another and perhaps too provocative/evocative for the Australian art establishment.
2007, English
Softcover, 458 pages, 10.7 x 17.5 cm
Published by
Urbanomic / Cornwall
$65.00 - In stock -
Philosophical Research and Development.
Edited by Robin Mackay
Associate Editor: Dustin McWherter
Collapse III contains explorations of the work of Gilles Deleuze by pioneering thinkers in the fields of philosophy, aesthetics, music and architecture. In addition, we publish in this volume two previously untranslated texts by Deleuze himself, along with a fascinating piece of vintage science fiction from one of his more obscure influences. Finally, as an annex to Collapse Volume II, we also include a full transcription of the conference on 'Speculative Realism' held in London in 2007.
The contributors to this volume aim to clarify, from a variety of perspectives, Deleuze's contribution to philosophy: in what does his philosophical originality lie; what does he appropriate from other philosophers and how does he transform it? And how can the apparently disparate threads of his work to be 'integrated' - what is the precise nature of the constellation of the aesthetic, the conceptual and the political proposed by Gilles Deleuze, and what are the overarching problems in which the numerous philosophical concepts 'signed Deleuze' converge?
Contents
ROBIN MACKAY - Editorial Introduction
THOMAS DUZER - In Memoriam: Gilles Deleuze 1925-1995
GILLES DELEUZE - Responses to a Series of Questions
ARNAUD VILLANI - "I Feel I Am A Pure Metaphysician": The Consequences of Deleuze's Remark
QUENTIN MEILLASSOUX - Subtraction and Contraction: Deleuze, Immanence and Matter and Memory
HASWELL & HECKER - Blackest Ever Black
GILLES DELEUZE - Mathesis, Science and Philosophy
INCOGNITUM - Malfatti's Decade
JOHN SELLARS - Chronos and Aion: Deleuze and the Stoic Theory of Time
ÉRIC ALLIEZ & JEAN-CLAUDE BONNE - Matisse-Thought and the Strict Ordering of Fauvism
MEHRDAD IRAVANIAN - Unknown Deleuze
J.-H. ROSNY THE ELDER - Another World
RAY BRASSIER, IAIN HAMILTON GRANT, GRAHAM HARMAN, QUENTIN MEILLASSOUX - Speculative Realism
2007, English
Softcover, 330 pages, 10.7 x 17.5 cm
Published by
Urbanomic / Cornwall
$55.00 - In stock -
Philosophical Research and Development.
Edited by Robin Mackay
Associate Editor: Damian Veal
Comprising subjects from probability theory to theology, from quantum theory to neuroscience, from astrophysics to necrology, and involving them in unforeseen and productive syntheses, Collapse II features a selection of speculative essays by some of the foremost young philosophers at work today, together with new work from artists and cinéastes, and searching interviews with leading scientists.
Against the tide of institutional balkanisation and specialisation, this volume testifies to a defiant reanimation of the most radical philosophical problematics - the status of the scientific object, metaphysics and its "end", the prospects for a revival of speculative realism, the possibility of phenomenology, transcendence and the divine, the nature of causation, the necessity of contingency - both through a fresh reappropriation of the philosophical tradition and through an openness to its outside. The breadth of philosophical thought in this volume is matched by the surprising and revealing thematic connections that emerge between the philosophers and scientists who have contributed.
Contents
ROBIN MACKAY - Editorial Introduction
RAY BRASSIER - The Enigma of Realism
QUENTIN MEILLASSOUX - Potentiality and Virtuality
ROBERTO TROTTA - Dark Matter: Facing the Arche-Fossil (Interview)
GRAHAM HARMAN - On Vicarious Causation
PAUL CHURCHLAND - Demons Get Out! (Interview)
CLÉMENTINE DUZER & LAURA GOZLAN - Nevertheless Empire
REZA NEGARESTANI - Islamic Exotericism: Apocalypse in the Wake of Refractory Impossibility
KRISTEN ALVANSON - Elysian Space in the Middle East
1973, English
Hardcover (w. dust jacket), 331 pages, 21.5 x 20.5 cm
1st Edition, Out of print title / used / good
Published by
The MIT Press / Massachusetts
$75.00 - In stock -
First 1973 hardcover edition.
Environmental and Elemental art—large-scale and sky art—kinetic and technological art—random happenings and programmed events—multimedia and light shows: Zero 1, 2, 3 collects in one volume the three publications created by the artists' collaborative, Group Zero, between 1958 and 1961.
Group Zero originated in Dusseldorf, Germany, but quickly became a pan-European force, with mutual exchanges and interacting influences linking an array of artists in Dusseldorf, Paris, Milan, Amsterdam, and elsewhere. This is best indicated by listing some of the artists whose words are displayed and whose works are illustrated in this book: besides Piene and Mack, they include Fontana, Yves Klein, Mavignier, Jean Tinguely, Arman, Pol Bury, Spoerri, Manzoni, Dorazio, Soto, Manfred Kage, and many others.
The book, designed by its originators, makes an artistic statement on its own terms: individual photographs can be viewed at leisure, but because of its dynamic film-like sequences, a rapid thumb-through converts it into a happening in the kinetic mode. In this edition all the text has been rendered into English in addition to being reproduced in the original German; yet the multilingual aspect of the first publication has been retained: those manifestos and artistic credos written in French or Italian are reprinted in their original language as well.
Zero 1 examines the Red Painting—it is a study in the monochromatic. Zero 2 focuses on vibrations and motion. The last and most elaborate of the volumes, Zero 3, exhibits the full range of Group Zero's concerns: it embraces the total environment, the nature-man-technology triad, and the myriads of artistic possibilities that can be realized through the interactions of elements.
The book offers ample testimony that Group Zero was a happening in contemporary art whose impact was far from ephemeral. As Lawrence Alloway writes in his Foreword: "The Zero group was the first artists' collaboration devoted to topics of light and movement, preceding by two years such collectives as Gruppo T (Milan) and the Groupe de Recherche d'Art Visuel (Paris). A general term for these and other groups was The New Tendency, useful initially as a way of indicating a broad community of interests (protechnology, antisubjective). What should be stressed is that The Zero Group, in their response to widespread aesthetic problems, revealed a sophistication and control that other groups in their strictness often missed. Ten years later, Zero has proved to have withstood the test of time."
Ex–library copy. Single filing sticker to DJ spine, library marking to initials, but (NOTE) with stamping that continues across a number of internal pages. Otherwise the book and DJ would be VG with light wear to extremities. Preserved in mylar wrap. The publisher's original torn, cut and burnt pages are all present and as they should be.
2025, English
Softcover, 360 pages, 128 x 19 cm
Published by
Pilot Press / London
$38.00 - In stock -
Practicing Dying is a literary anti-memoir documenting life in a Zen Buddhist monastery in rural France where the protagonist, a woman in her late twenties, attempts to overcome chronic drug addiction and mental illness.
Broken and severely unwell, our protagonist arrives at the monastery from London: starving, drug-addicted and disillusioned, having exhausted every conventional treatment route available to her. The book examines how, habituated to a life of benefits assessments, petty-crime and sex work, she struggles to adjust to the rules, discipline and religious life of the monastery—at times to devastating and comedic effect.
As the story unfolds, she reflects on her addictions and past experiences, raising critical questions about what it means to be "an addict" and why there may be vested corporate and societal interests in maintaining a narrow, individualistic understanding of addiction.
Anarchic and provocative, tender and self-deprecating, Practicing Dying differs from other contemporary memoirs in the genre of addiction-recovery by simultaneously challenging the dominant narratives surrounding mental health while proposing an alternative approach to treating the “sickness of self” from which we all increasingly suffer.
‘Practicing Dying is brilliant, rewarding and difficult. Northall offers the most brazen and shocking account of addiction I’ve ever read. Committing herself to the practice of Mahayana Buddhism, she eventually finds a way out, but only on the most rambling, circuitious path. Her account of addiction and loss, displacement and grief is profound and it proves that nothing is ever one thing.’ — Chris Kraus, author of The Four Spent The Day Together
‘The untamed offspring of Pema Chödrön’s The Wisdom of No Escape and David Wojnarowicz’s Close to the Knives, this is an addiction memoir that coolly refuses conventional narratives of addiction, trauma and recovery; an unflinching, no-holds-barred, seriously intelligent investigation into existence and how to survive it. A gut-wrenching, sublimely rewarding ride.’ — Olivia Laing, author of The Silver Book
‘Charlotte Northall’s Practicing Dying is extraordinary. It had me holding my breath. She writes in the same direct and uncompromising vein as Heather Lewis and Shulamith Firestone about the darkest corners of experience. But hers is ultimately a story of survival and even transcendence, one earned on every page. The existence of the book itself is hope.’ — Nate Lippens, author of Ripcord
Charlotte Northall is a London-based writer. Her debut, Practicing Dying, blends autobiography and cultural criticism to explore addiction, capitalism, and spiritual practice. She works with rough sleepers, supporting those living with addiction and complex mental health needs.
1991, Czech
Softcover (2 volumes in wrap), 266 + 50 pages, 29.7 x 21 cm
1st Edition, Out of print title / used / good
Published by
Prague City Galerie / Prague
Václav Špála Galerie / Prague
$100.00 - In stock -
First edition of the only comprehensive book (a 2 volume survey) ever published on Český informel ("Czech Informel"), a radical current of post-war art that emerged in Prague from specific local conditions at the turn of the 1950s and 1960s. The term "Czech Informel" was an afterthought and defined only in the context of this major 1991 exhibition, accompanying symposium and publication. In the 1960s, the term "structural abstraction" was used, which according to Mahulena Nešlehová is inaccurate and misleading, because the term structure refers rather to an order that is internally organized. Informel, a term used from 1945 by the French critic Waldemar-George and later Michel Tapié, on the other hand, works with chance and the projection of spontaneous emotions and represents an "expressive material antipainting". The revolt of about thirty desperate avant-garde artists created a turning point in the history of Czech art, a phenomenon of which had no predecessor in Czechoslovakia. Sharing an emphasis on the aesthetic effect of raw materials and destruction with concurrent post-war European arts, Czech Informel differed in emphasis on its existential basis. The principle of the permanent construction and destruction of the image was a reaction to the severity of the times and an attempt to penetrate to the deeper essence of creation, in which the birth involves at the same time the extinction of the previous and reflects the consciousness of the fragility of human existence itself.
Profusely illustrated in b/w with select colour plates, the first volume traces the painting, sculpture, print and photographic works of the radical current of central Czech Informel artists, including Jan Koblasa, Aleš Veselý, Antonín Tomalík, Zbyšek Sion, Zdeněk Beran, Vladimír Boudník, Čestmír Janošek, Antonín Málek, Jiří Valenta, Miloš Koreček, Emila Medková, Zbyněk Sekal, Čestmír Krátký, Jiří Balcar, Karel Kuklík, Pavla Mautnerová, Jozef Jankovič, Jaroslav Hovadík, Mikuláš Medek, Alois Nožička, and many more.
The second volume is devoted to the life and work of Antonín Tomalík (1939—1968), one of the main artists of the radical Informel. He played a significant and irreplaceable role in the formation of Czech avant-garde and non-conformist art at a time when artists were burdened by an existential crisis as a result of the totalitarian regime. He belonged to a generation of young artists whose skepticism about life found expression in the raw, deliberately anti-aesthetic language of dark material creation, the result of which was an expressively urgent, internally destroyed object. Tomalík died in 1968, the result of an overdose of barbiturates and alcohol.
Texts in Czech by Antonín Dufek, Jiri Valoch, Mahulena Neslehová.
Highly recommended.
Good—VG copy.
2007, English / Czech
Hardcover (w. dust jacket), 204 pages, 28 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Kant / Prague
$65.00 - In stock -
The most comprehensive monograph on Czech "informel" photographer, art historian, ethnographer, art critic, curator, and photography teacher, Čestmír Krátký (1932–2016). Lavishly illustrated throughout.
Čestmír Krátký began taking photographs in 1953 with Karel Plicka, but he only devoted himself to fine art photography consistently from 1959 after meeting Jan Koblasa.
His work ranges from narrative abstraction with a tendency towards absurdity and a desire for the unorthodox, literature, surrealism and knowledge of non-European cultures marked by an understanding of everything that is outside of him, that arose in nature or just by chance. He took found images as a challenge to understand the already finished unpretentious story and also their beauty.
The book also includes his texts on photography in Czech and English, which he wrote in the sixties and are among the most critical and ambitious of his time.
VG in VG dust jacket.
1968, English
Softcover (French-fold with die-cut), 96 pages, 22 x 30 cm
Out of print title / used / good
Published by
NGV (National Gallery of Victoria) / Victoria
$150.00 - In stock -
Rare first edition of this iconic catalogue produced in 1968 to accompany "The Field", regarded as a landmark exhibition in Australian art history – a radical showcase of 74 abstract and conceptual, colour field, geometric and hard edge artworks. Influenced by the American origins of abstract art, the exhibition opened to much controversy at the NGV in 1968 with its silver foil-covered walls and geometric light fittings, boldly launching the careers of a generation of young Australian artists it was the first the NGV staged in its new Swanston Street galleries.
Handsomely designed with its wrapped, french-flap, die-cut cover, the book includes profiles on each exhibiting artist in the exhibition, including colour and black and white reproductions of all 72 of the works exhibited.
On the occasion of its 50th anniversary the NGV will restage the exhibition as The Field Revisited, opening in May 2018 at The Ian Potter Centre: NGV Australia.
Texts by Elwyn Lynn, Patrick McCaughey, Royston Harpur, and an introduction by Brian Finemore (Curator) and John Stringer (Exhibitions Manager).
Artists included: Sydney Ball, Peter Booth, Janet Dawson, Robert Jacks, James Doolin, David Aspden, Tony Bishop, Ian Burn, Gunter Christmann, Tony Coleing, Noel Dunn, Garry Foulkes, Dale Hickey, Michael Johnson, Col Jordan, Michael Kitching, Alun Leach-Jones, Nigel Lendon, Tony McGillick, Clement Meadmore, Michael Nicholson, Harald Noritis, Alan Oldfield, Wendy Paramor, Paul Partos, John Peart, Emanuel Raft, Melvyn Ramsden, R.C. Robertson-Swann, Robert Rooney, Rollin Schlicht, Udo Sellbach, Eric Shirley, Joseph Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins, John White, Normana Wight.
G—VG copy with some marks/nicks/knocks to extremities of wrap–around. Die–cut text cover undamaged.
2018, English
Softcover (2 volumes w. die-cut covers in plastic jacket), 144 / 96 pages, 32.8 x 24 cm
1st Edition, Out of print title / as new
Published by
NGV (National Gallery of Victoria) / Victoria
$100.00 - In stock -
The fast out-of-print two-volume publication published to accompany 'The Field Revisited' 50th anniversary exhibition at The Ian Potter Centre, NGV Australia, 27 April - 26 August, 2018. Housed in a transparent plastic jacket, the publication includes a complete facsimile of the rare and highly collectable original 1968 'The Field' exhibition publication and a new publication for 'The Field Revisited', which reflects on the importance of this exhibition over the past fifty years through new essays, colour documentation of the exhibited (and related) works and archival photographs of the 1968 exhibit. Designed by Stuart Geddes, with typography by Vincent Chan.
The National Gallery of Victoria’s inaugural exhibition at its new premises on St Kilda Road in 1968 was The Field, the first comprehensive display of colour field painting and abstract sculpture in Australia. Regarded as a landmark exhibition in Australian art history, The Field was a radical presentation of 74 works by 40 artists who practised hard-edge, geometric, colour and flat abstraction, many of which were influenced by American stylistic tendencies of the time. With its silver foil–covered walls and geometric light fittings, The Field opened to much controversy and helped launch the careers of a generation of Australian artists, including Sydney Ball, Peter Booth, Janet Dawson and Robert Jacks. Eighteen of the exhibiting artists were under the age of thirty, with Robert Hunter the youngest at twenty-one years of age.
The Field Revisited recreated The Field exhibition for its fifty-year anniversary. By reassembling as many of the original 74 paintings and sculptures as possible, this restaging re-examined the exhibition’s impact and significance for Australian art history and allow a new generation to experience it for themselves. Because some works included in The Field are known to have been destroyed, the NGV has commissioned a number of artists, including Normana Wight and Col Jordan, to recreate their original works for The Field Revisited.
Artists : Sydney Ball, Peter Booth, Janet Dawson, Robert Jacks, James Doolin, David Aspden, Tony Bishop, Ian Burn, Gunter Christmann, Tony Coleing, Noel Dunn, Garry Foulkes, Dale Hickey, Michael Johnson, Col Jordan, Michael Kitching, Alun Leach-Jones, Nigel Lendon, Tony McGillick, Clement Meadmore, Michael Nicholson, Harald Noritis, Alan Oldfield, Wendy Paramor, Paul Partos, John Peart, Emanuel Raft, Melvyn Ramsden, R.C. Robertson-Swann, Robert Rooney, Rollin Schlicht, Udo Sellbach, Eric Shirley, Joseph Szabo, Vernon Treweeke, Trevor Vickers, Dick Watkins, John White, Normana Wight.
Out-of-print, As New copy.
1980, English / Japanese
Softcover (w. acetate jacket and obi-strip), 190 pages, 30 x 22 cm
1st Edition, Out of print title / used / very good
Published by
Byakuya Shobo / Tokyo
$700.00 - In stock -
First edition. A seminal Japanese photo book and instant classic upon release, Flash up is one of the most remarkable photographic excursions into the seedy underbelly of 1970s Tokyo. Kurata (b. 1945—2020), one Japan’s formidable contemporary photographers who’s work is often referenced in the same circles as his "Provoke" teachers Daido Moriyama and Nobuyoshi Araki, won the fifth Kimura Ihei Award in 1980 for this, his first book, his acclaimed collection of photographs of creatures of the night — gangsters showing off their full-length tattoos, youth styling themselves after the Hells Angels, self-professed ultra-nationalists from the notorious Black Dragon Society, transvestites drawing in crowds of men, cabaret girls...
"The photographs of Seiji Kurata are striking for their violence. The viewer must be prepared to be hit by his flashgun along with the subjects. ‘Violence’, in this case, is not necessarily invoked by the scenes of blood-shed; rather, it is Kurata’s sharp-shooting ability to stop the flow of time, capture the moment, draw of details we would otherwise never see, then proffer them up before our eyes. Sometimes our response is to avert our eyes for fear of seeing too much. This is not to say that the images are not exaggerated; for after all, people tend only to see what they want to see. If there are those who find Kurata’s photographs ‘ugly’, it can only be said that he has succeeded in paradoxically pointing the finger at them: You who want to avoid ugliness, he says, this is reality and I have cut it out for you. [...] we must admit that the ugliness apparent in these photographs is our ugliness. Our failure to do so simply invites Kurata to deal us an extra-violent blow with his images."—Akira Hasegawa, from the afterword.
Included in Martin Parr & Gerry Badger, The Photobook, Vol. II.
Text in English and Japanese.
Very Good copy, wear and usual shrinkage to publisher's thick acetate dust jacket, VG original metallic obi-strip, Very Good book, light bump to one corner.
1969, English
Slipcase portfolio of 64 loose plates, 38.5 x 30 cm
1st Edition, Out of print title / used / good
Published by
Rhinoceros Press / New York
$400.00 - In stock -
Original 1969 deluxe slipcase edition of Tomi Ungerer's controversial classic from 1969, Fornicon, a provocative portfolio of Ungerer's stunning line drawings of mechanophilia — machine sex. The ingenious and diverse pleasure devices seem to symbolize the absurdity of human desire, caricaturing love and lust mechanized by industrial society. One of the most celebrated works of erotic illustration of the 20th Century, and a masterpiece of 1960s counterculture, Fornicon ruffled so many feathers when first published by Ungerer and Richard Kasak that the award-winning French illustrator had to flee New York.
Heavy back slipcase w. gold-foiling contains the complete 64 sheets (62 illustrated plates, 1 double-sided title/colophon page, 1 double-sided text introduction by American poet and literary critic John Hollander).
"Black Power/White Power, with its Kama Sutra suggestion of simultaneous fellatio, has an undeniable sexual undercurrent, but Ungerer also addressed the sexual revolution head-on, assimilating the fluid line and stark patterning of Aubrey Beardsley in wildly phallocratic drawings of baroque pleasure devices and mechanical means of penetration. Published as an expensive folio, The Fornicon, these sprightly images—a literal, if perverse, expression of the desire to make love rather than war—provoked a strong negative reaction, effectively suspending Ungerer’s career as a children’s book artist (his works, he says, were banned from libraries) and precipitating his departure from New York..."—NY Books
Tomi Ungerer (b. 1931) is an award winning French illustrator and a writer in three languages. He has published over 140 books ranging from much loved children's books to controversial adult work; from the fantastic to the autobiographical. He is known for sharp social satire and witty aphorisms. He is renowned for his iconic Advertising campaigns and political posters against the Vietnam War and Racial Injustice which were representative of the burgeoning political consciousness in New York in the 1960’s when he was based at the time. His political engagement has continued to this day in campaigns against Racism and Fascism, for Nuclear disarmament, Ecology and numerous Humanitarian causes.
Good copy with wear to the edges/corners of the slipcase, some discolouration to the gold foil, and several plates have some light foxing and light corner creasing, but majority of contains Very Good. Contents are complete.
2014, English
Softcover, 536 pages, 11.5 x 17.5 cm
Published by
Merve Verlag / Berlin
Urbanomic / Cornwall
$66.00 - In stock -
Accelerationism is the name of a contemporary political heresy: the insistence that the only radical political response to capitalism is not to protest, disrupt, critique, or détourne it, but to accelerate and exacerbate its uprooting, alienating, decoding, abstractive tendencies.
The term was coined to designate a certain nihilistic alignment of theory with the excess and abandon of capitalist culture, and the associated performative aesthetic of texts that seek to become immanent to the very process of alienation. Developing at the dawn of contemporary neoliberal consensus, the uneasy status of this impulse, between subversion and acquiescence, between theoretical purchase and aesthetic enjoyment, constitutes the core problematic of accelerationism.
Since the 2013 publication of Williams's and Srnicek's #Accelerate: Manifesto for an Accelerationist Politics, the term has been adopted to name a set of new theoretical enterprises that aim to conceptualise non-capitalist futures outside of traditional marxist critiques and regressive, decelerative or restorative solutions.
#Accelerate presents a genealogy of accelerationism, tracking the impulse through 90s UK darkside cyberculture and the theory-fictions of Nick Land, Sadie Plant, Iain Grant, and anonymous units like CCRU and SWITCH, across the cultural underground of the 80s (rave, acid house, Terminator and Bladerunner) and back to its sources in delirious post-68 ferment, in texts whose searing nihilistic jouissance would later be disavowed by their authors and the marxist and academic establishment alike.
On either side of this largely unexplored central sequence, the book includes texts by Marx that call attention to his own 'Prometheanism' and key works from recent years document the recent extraordinary emergence of new accelerationisms steeled against the onslaughts of neoliberal capitalist realism, and retooled for the twenty-first century.
At the forefront of the energetic contemporary debate around this disputed, problematic term, #ACCELERATE activates a historical conversation about futurality, technology, politics, enjoyment and Kapital. This is a legacy shot through with contradictions, yet urgently galvanized today by the poverty of 'reasonable' contemporary political alternatives.
Contents
ANTICIPATIONS
Karl Marx - Fragment on Machines
Samuel Butler - The Book of The Machines
Nikolai Fyodorov - The Common Task
Thorstein Veblen - The Machine Process and the Natural Decay of the Business Enterprise
FERMENT
Shulamith Firestone - On the Two Modes of Cultural History
Jacques Camatte - Decline of the Capitalist Mode of Production or Decline of Humanity?
Gilles Deleuze + Félix Guattari - The Civilized Capitalist Machine
Jean-François Lyotard - Energumen Capitalism
Gilles Lipovetsky - Power of Repetition
JG Ballard - Fictions of All Kinds
CYBERCULTURE
Nick Land - Circuitries
Nick Land + Sadie Plant - Cyberpositive
Iain Hamilton Grant - LA 2019: Demopathy and Xenogenesis
CCRU - Cybernetic Culture
CCRU - Swarmachines
ACCELERATION
Mark Fisher - Terminator vs Avatar
Nick Srnicek and Alex Williams - #Accelerate: Manifesto for an Accelerationist Politics
Antonio Negri - Reflections on the Manifesto
Tiziana Terranova - Red Stack Attack!
Luciana Parisi - Automated Architecture
Patricia Reed - Seven Prescriptions for Accelerationism
Reza Negarestani - The Labour of the Inhuman (Extended Mix)
Benedict Singleton - Maximum Jailbreak (Extended Mix)
Ray Brassier - Prometheanism and its Critics
Nick Land - Teloplexy: Notes on Acceleration
Diann Bauer - 4xAccelerationisms
2026, English
Softcover, 189 pages. 19.6 x 13.1 cm
Published by
Peninsula Press / UK
$35.00 - In stock -
'The Waterfront Journals' is a road trip through the sensuous, perilous landscape of alternative America – a series of fictional monologues that ventriloquise the real people Wojnarowicz met on his travels while he was sleeping rough. We meet these hustlers, runaways and dreamers in unassuming locations – in truck stops, bus stations and parks. Their stories are disturbing, often shocking; but they're told with an honesty and a hallucinatory intensity that demands to be heard. Published for the first time in the UK, this electrifying collection confirms that David Wojnarowicz was not only one of millennial America’s most necessary and visionary artists, but also among its most humane and urgent literary chroniclers.
David Wojnarowicz was a writer, artist, AIDS activist and anticensorship advocate. He wrote five books, and his paintings are exhibited in MoMA and the Whitney Museum of American Art. He died from AIDS in 1992.
A visceral and carnivalesque mosaic of life at the fringes.A totally crucial book by one of the 20th century’s greatest artists and writers.' – Maggie Nelson
2026, English
Softcover, 266 pages, 19.7 x 13 cm
Published by
Silver Press / London
$40.00 - In stock -
Translated by Sophie Lewis
Foreword by Jamieson Webster
A woman replays her abandonment by her mother, who is sometimes addressed as a male mother-god. She is also abandoned by her lover, to whom she is in thrall. She tries repeatedly to make or receive phone calls with the beloved figures, without success. She waits for their letters and imagines their contents. In a dream-like, torrid sequence, suffering, fear, fatigue and imperfection are apostrophised. Forgetting is examined and toyed with from every angle. Mythical hybrid creatures are invoked: a snake-headed lion, wolf-snakes, a wolf-peacock. How did this come to be? In a cunningly, wittily wrought rush, the unique, unpredictable voice of the narrator speaks from multiple perspectives to express powerful anguish and, ultimately, catharsis.
First published in French in 1977.
‘Cixous reminds us that women have long spoken from a wound… To be is already to be abandoned, already to have lost, and still to love. To read Cixous is to tarry with this open wound, to hear how writing becomes testimony to its own possibility.’–Jamieson Webster
‘Language in Cixous’s hands is molten, constantly opening onto fresh possibilities.’–Maggie Nelson
‘With Hélène Cixous you must close your eyes and open your mouth. Wider. So open your throat opens. Your esophagus. Your lungs. Wider. So open your spine unclatters. Your hips swim loose. Your womb worlds itself. Wider. Open the well of your sex. Now speak your body from your other mouth. Yell corporeal prayer. This is writing.’–Lidia Yuknavitch
Hélène Cixous is one of the most important feminist voices of the 20th and 21st centuries.
2026, English
Softcover, 258 pages, 19 x 12 cm
Published by
Index Press / Melbourne
$40.00 - In stock -
Described as “the most important British philosopher” of our time, Nick Land is an enigmatic figure shrouded in controversy, rumour, and myth. Too heretical for the academic establishment, Land has had a meteoric impact on contemporary philosophy, politics, and culture. His striking insights and singular prose have left their mark on leading philosophers such as Mark Fisher and Ray Brassier, inspired artists like Kode9 and Jake and Dinos Chapman, and even shaped the mindset of Silicon Valley kingmakers like Marc Andreessen. His prophetic thought has helped give rise to major philosophical and cultural movements, from speculative realism and cyberfeminism to accelerationism and neoreaction.
Unknown Lands is the essential introduction to Land’s radical and often cryptic philosophy, providing a comprehensive decoding of his labyrinthine writings. The book takes us through his earliest inventive readings of Schopenhauer, Nietzsche, Freud, and Bataille, which he wields to critique the likes of Kant, Heidegger, and Derrida for repressing the brute fact of our mortality. It goes right up to his seminal remixing of Deleuze and Guattari, cybernetics, and cyberpunk in his account of capitalism’s race towards human extinction at the advent of the technological singularity.
Making sense of ideas that have long circulated in cult obscurity, Unknown Lands presents perhaps the most apocalyptically nihilistic and yet powerfully ecstatic vision of the world. It is unlikely to leave readers’ preconceptions—or sanity—fully intact.
“Few people can write about Nick Land in a way that doesn’t betray the principles of Land’s own thought. Vincent Lê is one of them. Unknown Lands refuses the sterility, distance, and moral condescension of academic writing on Land while maintaining a depth of philosophical engagement that is depressingly absent in the thriving industry of online commentaries.”—Amy Ireland, co-author of Cute Accelerationism and The Xenofeminist Manifesto
“A superbly lucid, philosophically grounded study that will be of value to both students and advanced researchers, presenting Nick Land as among the most rigorous and relentlessly corrosive thinkers of the posthuman. When other continental thinkers imagined they were challenging ‘humanism’ with their anthropotechnics and all-too-human cyborgs, Vincent Lê shows that Land was the one who first called it for the radically inhuman trajectory of our technological condition.”—David Roden, author of Posthuman Life, Xenoerotics, and Snuff Memories
“Vincent Lê has pulled off the almost impossible. He has produced an unheretical account of the most ‘heretical’ philosopher since Nietzsche. What he says here—and what you will read—is calm, measured, and assured. It tells us where the Nick Land of today came from. If anyone is going to judge Land and speak either for or against him, they need to read this book first.”—Rex Butler, author of Deleuze and Guattari’s “What is Philosophy?”: A Reader’s Guide, Slavoj Žižek: Live Theory, and Jean Baudrillard: The Defence of the Real
Design by Alexandra Margetic
2026, English
Softcover, 190 pages, 20 x 12 cm
Published by
Index Press / Melbourne
$30.00 - In stock -
For some, Nietzsche is the prophet of hierarchy and heroism, a rallying cry against the modern herd. For others, he is the forefather of AI-driven transcendence, an oracle of posthuman futures. His thought has been twisted, worshipped, and weaponised across generations—from avant-garde artists to political extremists, from revolutionary philosophers to Silicon Valley disruptors.
In this book of essays, leading scholars dive into Nietzsche’s early vision, following the tangled, often contradictory paths of his influence: the poets he scorned, the radicals who claimed him, the scholars who tried (and failed) to pin him down. From Australian modernism to French poststructuralism, from political battlegrounds to the shifting tensions between art and philosophy, this book captures Nietzsche’s restless afterlife—revealing how, more than 150 years after the publication of his first book, The Birth of Tragedy Out of the Spirit of Music, Nietzsche’s thought still provokes, unsettles, and refuses to be tamed.
2025, English
Hardcover, 656 pages, 22.5 x 15 cm
Published by
Zero Books / UK
$70.00 - In stock -
Eugene Thacker's three cult-classic volumes of supernatural horror come together in this new Zer0 Books omnibus, revised with updated material, offering an essential resource for thinking about the unthinkable world.
Zer0 Books presents a new, omnibus edition of a cult classic: all three volumes of Eugene Thacker's Horror of Philosophy trilogy, revised and expanded by the author. Across the three volumes of the series—In the Dust of this Planet (Zero Books, 2011), Starry Speculative Corpse (Zero Books, 2015), and Tentacles Longer than Night (Zero Books, 2015)—Thacker adopts a unique approach, reading works of horror as if they were philosophy, and works of philosophy as if they were horror, leading to far-reaching questions: Could it be that the more we know about the world, the less we understand it? Could it be that, while everything has been explained, nothing has meaning? At the center of Thacker's project is the idea of the 'world without us,' an increasingly unthinkable world of planetary disasters, emerging pandemics, and the looming threat of extinction. To confront this idea is to confront the limit of our ability to understand the world in which we live - not a philosophy of horror, but a horror of philosophy.
1904 / 2016, English
Hardcover (w. dust jacket), 112 pages, 23 x 15.25 cm
Published by
Mockingbird Press / US
$44.00 - In stock -
This edition is a fully illustrated reprint of the 1904 publication by Aleister Crowley and Samuel Liddell MacGregor Mathers. This edition of The Lesser Key of Solomon the King contains all of the over 150 seals, sigils, and charts of the original lesser book of Solomon. Beware of other editions that do not contain the Lesser Key of Solomon seals; they were painstakingly researched by Mathers and Crowley, and Solomon’s lesser key is enhanced by their inclusion. This edition also contains Crowley’s original comments located in over 35 annotations to help the reader understand the lesser keys of Solomon the king.
In this work, Crowley and Mathers assemble descriptions and directions for the invocation of over 72 demons or spirits. Included are: illustrations of Solomon’s Magic Circle & Triangle, Enochian translations of the Goetia book, step by step guides for invocation, as well as definitions and explanations for the ancient terms seen throughout the Lesser Key of Solomon book.
The Lesser Key of Solomon, or the Clavicula Salomonis Regis, or Lemegeton, is a compilation of materials and writings from ancient sources making up a text book of magic or “grimoire.” Portions of this book can be traced back to the mid-16th to 17th centuries, when occult researchers such as Cornelius Agrippa and Johannes Trithemisus assembled what they discovered during their investigations into their own great works.
As a modern grimoire, the Lesser Key of Solomon has seen several editions with various authors and editors taking liberty to edit and translate the ancient writings and source material. In 1898, Arthur Edward Waite published his The Book of Black Magic and of Pacts, which contained large portions of the Lemegeton. He was followed by Mathers and Crowley in 1904 who published The Goetia: The Lesser Key of Solomon. Many others have assembled their own version of this ancient material since, and it is important to realize that it is the contents rather than the book itself that make up the Lesser Key. Traditionally, the source material is divided into five books: Ars Goetia, Ars Theurgia Goetia, Ars Paulina, Ars Almadel, and Ars Notoria. Mathers and Crowley indicate their edition is a translation only of the first book: Goetia.
In the preface to this edition, it is explained that a “Secret Chief” of the Rosicrucian Order directed the completion of the book. The original editor was a G. H. Fra. D.D.C.F. who translated ancient texts from French, Hebrew, and Latin, but was unable to complete his labors because of the martial assaults of the Four Great Princes. Crowley was then asked to step in and finish what the previous author had begun. Traditionally, S. L. MacGregor Mathers is credited as the translator of this edition, and Crowley is given the title of editor. Although impossible to verify, it is often claimed that Mathers did not want to publish this work, but Crowley did so anyway without his permission.
Aleister Crowley was an English occultist, ceremonial magician, poet, painter, novelist, and mountaineer. He founded the religion of Thelema, identifying himself as the prophet entrusted with guiding humanity into the Æon of Horus in the early 20th century. Born to a wealthy Plymouth Brethren family in Royal Leamington Spa, Warwickshire, Crowley rejected this fundamentalist Christian faith to pursue an interest in Western esotericism. He was educated at the University of Cambridge, where he focused his attentions on mountaineering and poetry, resulting in several publications. In 1898 he joined the esoteric Hermetic Order of the Golden Dawn, where he was trained in ceremonial magic by Samuel Liddell MacGregor Mathers and Allan Bennett. Moving to Boleskine House by Loch Ness in Scotland, he went mountaineering in Mexico with Oscar Eckenstein, before studying Hindu and Buddhist practices in India. He married Rose Edith Kelly and in 1904 they honeymooned in Cairo, Egypt, where Crowley claimed to have been contacted by a supernatural entity named Aiwass, who provided him with The Book of the Law, a sacred text that served as the basis for Thelema. Announcing the start of the Æon of Horus, The Book declared that its followers should adhere to the code of "Do what thou wilt" and seek to align themselves with their Will through the practice of magick. After an unsuccessful attempt to climb Kanchenjunga and a visit to India and China, Crowley returned to Britain, where he attracted attention as a prolific author of poetry, novels, and occult literature. In 1907, he and George Cecil Jones co-founded a Thelemite order, the A∴A∴, through which they propagated the religion. After spending time in Algeria, in 1912 he was initiated into another esoteric order, the German-based Ordo Templi Orientis (O.T.O.), rising to become the leader of its British branch, which he reformulated in accordance with his Thelemite beliefs. In 1920 he established the Abbey of Thelema, a religious commune in Cefalù, Sicily where he lived with various followers. His libertine lifestyle led to denunciations in the British press, and the Italian government evicted him in 1923. He divided the following two decades between France, Germany, and England, and continued to promote Thelema until his death.
Samuel Liddell MacGregor Mathers was born in 1854 in London, England. He attended Bedford School and, after graduating, began work as a clerk in Dorset. His father died while he was a young boy, and his mother died while he was in his thirties. Shortly after his mother's death, he moved from Dorset to London. He was married to Monia Bergson, the sister of the philosopher Henri Bergson. Mathers was a freemason - raised as a Master Mason in 1878. In 1882 he was admitted to the Metropolitan College of the Societas Rosicruciana in Anglia (SRIA) as well as a number of fringe Masonic degrees. Working hard both for and in the SRIA, he was awarded an honorary 8th Degree in 1886. Upon the death of William Robert Woodman in 1891, Mathers assumed leadership of the Hermetic Order of the Golden Dawn. He moved with his wife to Paris on 21 May 1892. After his expulsion from the Golden Dawn in April 1900, Mathers formed a group in Paris in 1903 called Alpha et Omega (its headquarters, the Ahathoor Temple). Mathers assumed the title of "Archon Basileus". Mathers was a polyglot; among the languages he had studied were English, French, Latin, Greek, Hebrew, Gaelic and Coptic - though he had a greater command of some languages than of others. His translations of such books as The Book of Abramelin (14thC.), Christian Knorr von Rosenroth's The Kabbalah Unveiled (1684), Key of Solomon (anonymous 14thC.), The Lesser Key of Solomon (anonymous 17thC.), and the Grimoire of Armadel (17thC.), while probably justly criticized with respect to quality, were responsible for making what had been obscure and inaccessible material widely available to the non-academic English speaking world. His works have had considerable influence on the development of occult and esoteric thought since their publication, as has his consolidation of the Enochian magical system of John Dee and Edward Kelley. Mathers died in November 1918 in Paris. The manner of his death is unknown; his death certificate lists no cause of death. Violet Firth claimed his death was the result of the Spanish influenza of 1918. While this seems likely, few facts are known about Mathers's private life, verification of such claims is difficult.
2024, English
Softcover, 24 pages, 23 x 15.5 cm
Published by
Adultbrain / US
$26.00 - In stock -
"Every man and every woman is a star."
The Book of the Law is a seminal text in the philosophy of Thelema, penned by Aleister Crowley under alleged dictation from a spiritual entity in 1904. This mysterious and provocative work challenges conventional ideas of morality, spirituality, and human purpose, advocating for a new path of individual freedom through the law of Thelema: "Do what thou wilt shall be the whole of the Law." With cryptic verses, poetic language, and timeless wisdom, Crowley's magnum opus continues to captivate and inspire those who seek a deeper understanding of existence, freedom, and the self.
This Adultbrain Publishing edition brings Crowley's powerful work to a new generation of seekers, accompanied by an insightful introduction and annotations that help guide readers through the book's intricate symbolism and themes. Whether you're delving into Thelema for the first time or revisiting this powerful manifesto of personal will and spiritual evolution, this edition offers clarity and context to fully appreciate the depth of Crowley's revelation.
Back of the Book:
Unlock the Mysteries of The Book of the Law - A Guide to Personal Freedom and Spiritual Empowerment.
Written under extraordinary circumstances by Aleister Crowley in 1904, The Book of the Law has since become a cornerstone of Thelema, a spiritual philosophy that emphasizes individual freedom, self-discovery, and the pursuit of one's true will. With its often cryptic and poetic passages, this work has challenged and inspired readers for over a century.
In this newly formatted Adultbrain Publishing edition, discover the full text of Crowley's visionary work along with annotations and commentary to aid both new and returning readers in their journey through the profound and often misunderstood principles of Thelema. Whether you seek to explore the limits of human potential or to find spiritual liberation, The Book of the Law offers a path that demands courage, insight, and personal accountability.
Product Details
ISBN: 9781998614349
ISBN-10: 1998614344
Publisher: Adultbrain Publishing
Publication Date: October 18th, 2024
Pages: 26
Language: English