As queer nightlife moves from the margins to the mainstream, what have we lost – and what can we still gain? Part cultural history, part manifesto, Club‬‭ Commons: Moving Bodies to Grow Movements‬ ‭in Queer Nightlife & Beyond explores the power of the dancefloor. A call to protect what we’ve built, and reimagine what’s still possible.Softcover, 220pp Velocity Press, 2026

Beneath the Surface invites us to pause, listen deeply, and use our voices to reclaim buried stories. This composition presents a radical approach to knowledge production, emphasizing embodied resistance as a crucial means of emancipation. Through personal and collective narratives, and a collection of writings composed over a year, Luïza Luz reflects on the challenges of navigating academic institutions that replicate selective narratives, emphasizing deep listening as both a theoretical foundation and a practical necessity. The work features contributions by Ahmet Öğüt and Jamila Barakat, broadening the dialogue around education, memory, and the power of the collective. Grounded in the body as a living archive, Beneath the Surface encourages listeners to confront shared inheritances and transform trauma into pathways for eco-liberation. In these turbulent times, deep listening becomes our most vital ally. As we grieve not only for lost lives but also for lost connections, we yearn to reconnect with one another and the Earth. Listening—through sound and the felt experiences of our bodies—offers us a way back.  Softcover, 104 pp Contributions by Ahmet Öğüt and Jamila Barakat.   Published by Archive Books and we make it, 2024

The point of departure for the book «Black Ark» with Lee “Scratch” Perry (1936–2021), a Jamaican musical and visual artist who was based in Switzerland, is a detailed inventory of photographs and writings (Spring 2021) from the Black Ark Studios in Kingston, Jamaica, where Lee produced his music from 1973 on. He was a seminal pioneer of dub, an electronic subgenre of reggae that uses sampling, looping, remixing, reverb and echoes to create new songs as well as rework  and appropriate pre-recorded songs and tracks. Black Ark Studios was one of the cradles of dub. It’s also where Lee “Scratch” Perry’s musical approach found an enduring visual counterpart in the form of continuously evolving mural paintings and drawings  as well as shape-shifting assemblages of records, instruments, found objects, posters, newspaper and magazine clippings, and appropriated books. The artworks form actual layers upon layers that are rhizomatically intertwined with the studio building itself  as well as with the furniture inside—and with Perry’s biography and persona. Perry created his very own, dense and eclectic world—a world that is documented in «Black Ark», before it disappears for good: the premises have recently been sold. The photographic documentation of the studio was supplemented by efforts to secure and preserve Perry’s cultural objects as part of a joint project with various cultural institutions. «Black Ark» which reflects the rhythm and layering effects of collage both in its content and the materials used to craft the book. Perry was involved in the conception of the book in its early stages. It also interweaves various media and chronologies. The new photographs of the Black Ark Studios will be juxtaposed with stills from old documentaries and archival photos. The idea of a “house” serves as both a working hypothesis and a metaphor. It will be the starting point and endpoint of various thematic strands, both visual and textual: for example, the book will explore the Black Ark as a “spiritual yard” in the context of African diaspora, as well as looking into archeomusicological aspects. Furthermore, extended captions by Perry’s biographer will provide the backdrop for a kaleidoscopic panorama of Perry’s eclectic and ingenious work. Hardcover, 667 pages, 236 color images, 45 B/W images Edition Patrick Frey, 1st edition, 2026

‘I read everything Kapil writes and each time am left in awe at her erudite dexterity to see the book, not as a medium of mere knowing, but of questing. Here she casts the dialectical inquiry between continuity and rupture, deploying cyborgs and monsters to overlay and amplify existential questions for the Anthropocene. The result is an ambitious work of complex yet coherent semiotic prowess I can’t wait to teach from.’ – Ocean Vuong‘This book is for all the monsters. This book is for anyone who did not discover, until it was almost too late, that they were beautiful in the eyes of strangers. This book is for anyone who came upon their origin story in a book of fairy tales in a public library. This book is for anyone who burns to write but does not. This book is for anyone whose idea of a good time resembles a vector, but also a kite. Imagine the blue sky and the cut glass of the kite’s string, glinting at dusk. You’re on the rooftop. This is childhood. This book is for anyone who, in the middle of their childhood, had the sudden thought: ‘I’m no longer a child. This book is for anyone who left their birthplace, for reasons they could not control at the time. Or reverse. This book is for anyone who made home, in the end, out of what it was: a glimpse of the horizon four times a year. This book is for anyone for whom this horizon is dreamed or recollected, a hot green line embedded in the art they make, something a reader or observer would not notice or perceive unless, like the artist, they repeated their walk through the space in which the art was presented, or made.’ Incubation: a space for monsters is a formally innovative, hybrid-genre book that incorporates poetry and prose. Set in a shifting narrative environment, where human bodies, characters, and text are neither one thing nor another, this fragmentary-diaristic text journeys through the spaces in-between. Originally published in America in 2006 by Leon Works, and out of print for the last seven years, this is the first time this seminal text has been available in the UK. Following protagonist Laloo – Cyborg, girl, mother, child, immigrant, settler – on a roadtrip through American landscapes, genre styles, and form, Incubation creates radical space for what is ‘monstrous’. Appropriating iconic American tropes, and the structure of Jack Kerouac’s On the Road, Incubation explores the challenges faced by immigrants in attaining such notions of freedom in so hostile an environment. In this fragmentary document there is a celebration in the cobbling together of lives; global in scope, with an intimate focus on interior voice, this landmark text evidences the early innovations and talents of this T.S. Eliot prizewinning author.

An essential selection of fiction, poetry, and philosophical prose by Ryūnosuke Akutagawa that illuminates the restless brilliance of one of modern literature’s most influential voices. With a foreword by Polly Barton. Hell of Solitude presents a bold and varied selection of writings by Ryūnosuke Akutagawa, one of the central figures of twentieth-century Japanese literature. Bringing together fiction, poetry, and philosophical prose—much of it appearing in English for the first time—this collection showcases the range and intensity of Akutagawa’s imagination. Moving from the whimsical and fantastical to the grave and introspective, the pieces reveal a writer of extraordinary clarity and psychological depth. Interwoven throughout are poems from a prolific body of verse, examples of which are sparse in English, alongside ‘Art and Other Things’, a fragmentary essay in which Akutagawa expounds his aesthetic views while drawing on examples from world literature and art. Translated with sensitivity and precision by Ryan Choi, Hell of Solitude offers a vital reintroduction to a writer whose lucidity, irony, and existential unease continue to resonate across cultures and generations.   Ryūnosuke Akutagawa (1892–1927), born in Tokyo, Japan, was the author of more than 350 works of fiction and non-fiction, including Rashōmon, The Spider’s Thread, Hell Screen, Kappa, and In a Grove. Japan’s premier literary award for emerging writers, the Akutagawa Prize, is named after him. Ryan Choi’s books include In Dreams: The Very Short Stories of Ryūnosuke Akutagawa and Three Demons: A Study on Sanki Saitō’s Haiku. He is an editor at AGNI. His writings and translations have appeared in Harper’s Magazine, The New Criterion, Poetry, The Times Literary Supplement, and elsewhere. He lives in Honolulu, Hawaii, where he was born and raised.  trans. Ryan Choi Softcover, 178pp Prototype, April 2026

In the 1960s, a musical revolution took place in the industrial landscapes of Cleveland and Detroit. Disenchanted with the strictures of bebop, musicians forged a new style—free jazz—that took inspiration from a vast range of sources, including figures such as Ornette Coleman, Cecil Taylor, and John Coltrane; African and Middle Eastern music; avant-garde modernism; and the politics and aesthetics of Black Power. How did this radical movement come about, and what explains its creativity and vitality?Based on interviews with dozens of musicians, I Hear Freedom tells the story of free jazz and its connection to the broader Black experience. Cisco Bradley demonstrates that although this part of the free jazz movement arose in the Midwest, it is deeply rooted in the musical traditions and aesthetics that the Great Migration brought from the South. As postwar urban renewal projects fractured Black communities, musicians drew on this heritage to create new forms of expression. Figures such as Albert Ayler, Donald Ayler, Charles Tyler, Frank Wright, Bobby Few, Charles Moore, and Faruq Z. Bey developed distinct artistic visions, often influenced by their involvement in Black liberation movements. I Hear Freedom chronicles the Cleveland and Detroit free jazz scenes, and it follows musicians to New York, Los Angeles, Paris, and beyond. A revelatory oral history, this book shows that free jazz is a uniquely Black style shaped by mobility, community, and the struggle for freedom.Paperback, 496pp Columbia University Press, March 2026

The Haitian Chronicles is a graphic and brutal history of the Haitian Revolution told across three plays. It is the final work by the influential and groundbreaking playwright Douglas Turner Ward (1930-2021) and the first play of his to be published in several decades. Though much of his earlier work has been short one-act satires, The Haitian Chronicles takes place across three long plays: The Rise of Toussaint L'Ouverture, The Fall of Toussaint L'Ouverture, and the one-man drama, Dessalines. The Haitian Chronicles is an example of Ward's political commitment to satirizing, dramatizing, and revealing the structures of white supremacy throughout the history of this so-called civilization. His first play, Star of Liberty, written at 19 years of age, was based the life of Nat Turner and the slave revolt he led. With The Haitian Chronicles, Ward returns to armed Black rebellion, taking as its subject matter the first and only slave revolt to successfully establish a free state. It is a self-consciously ambitious work of astounding narrative and theatrical scope, featuring over 80 speaking roles and logistically demanding production design. The narrative onslaught chronicling the disgusting brutality of colonial French society and the bloody force it took to overthrow it overwhelms the reader and challenges one to question the structures on which society is built and the violence it continues to perpetuate.Ward was one of the central, driving forces of the Black Theater movement in the United States. After moving to New York in 1948, he became immersed in the radical political scene in Harlem, writing for The Daily Worker, and studying as an actor. He served as understudy to Sidney Poitier in A Raisin in the Sun, and began a long friendship with fellow actor Robert Hooks. In 1966, Hooks helped produce Ward’s double bill Happy Ending / Day of Absence. Following the success of these plays, Ward was asked to write an editorial for the New York Times in 1966. His article, titled "American Theatre: For Whites Only?", surveyed the ubiquitous, stifling racism of the American theatre and was widely circulated, earning Ward further recognition for his political and theatrical work. With funding from the Ford Foundation, Ward and Hooks, together with Gerald Krone, founded the Negro Ensemble Company (NEC) in 1967. Writing and directing for the NEC over the next several decades, Ward worked with icons such as Paul Carter Harrison, Gus Edwards, Leslie Lee, Errol Hill, Charles Fuller, Derek Walcott and Wole Soyinka. He directed dozens of plays throughout his career including Song of the Lusitanian Bogey, The River Niger and Pulitzer Prize-winning A Soldier’s Play. Ward continued to write until his death in 2021– The Haitian Chronicles is the result of over four decades of work, a superb series of plays by an inimitable writer and artist.First edition. Softcover, 366pp Boo-Hooray, New York, 2020

A voyage in the insight which comes as a kiss and follows as a curse, made after you ran out of things to say.——first halting efforts at mutual understanding——love letters from twelve years ago. journal entries from fifteen years before lick at the edges like flames. Opaque coloured shadows, projected in three dimensions——of a——future that——has. never ceased to exist and which——Doesn’t——.——.——arrive to speak about their fears.—— Beginning with a naked bathroom selfie.An attempt to live nonjudgmentally and without fear, against the desire to be something other than who you were, as a basic form of class hatred, a fear of the common and of everything that happens there, near speechlessness, trailing off, only sometimes coming back to life again, shame dies so that everything else can be saved, and everything else remains present against the background of this absence, beneath the harsh overhead light, as you pull on the pathetic, unassuming string of the pullcord.Dedicated to one person, written by one another. “Poems written by / different poets / are my nakedness.”  Softcover, sewn, 80pp The Last Books, April 2026

Dark Entries’ fourth excursion into the gothic brings us an article on the use of technology in trying to prove the existence of spirits, an interview with paranormal psychologist Evelyn Hollow, an arcane and hallucinatory playlist, curated by author Richard Cabut, and a gallery of disquieting artworks from Scotland-based artist Fiona Lynn.Staplebound, A5 33pp Dark Entries, 2025

This book is for people who love electronic music, people who probably have a synthesizer or two at home. It’s for people who tell themselves that they should find some time for their passion, who blame themselves for not making enough music. This book is for them.Softcover, 138pp Matas Petrikas, 2025

Kwame Dawes speaks for all those for whom reggae is a major part of life. He describes how reggae has been central to his sense of selfhood, his consciousness of place and society in Jamaica, his development as a writer - and why the singer Ken Boothe should be inseparably connected to his discovery of the erotic.Natural Mysticism is also a work of acute cultural analysis. Dawes argues that in the rise of roots reggae in the 1970s, Jamaica produced a form which was both wholly of the region and universal in its concerns. He contrasts this with the mainstream of Caribbean literature which, whilst anticolonial in sentiment was frequently conservative and colonial in form. Dawes finds in reggae's international appeal more than just an encouraging example. In the work of artists such as Don Drummond, Bob Marley, Winston Rodney and Lee 'Scratch' Perry, he finds a complex aesthetic whose inner structure points in a genuinely contemporary and postcolonial direction.He identifies this aesthetic as being both original and eclectic, as feeling free to borrow, but transforming what it takes in a subversive way. He sees it as embracing both the traditional and the postmodern, the former in the complex subordination of the lyric, melodic and rhythmic elements to the collective whole, and the latter in the dubmaster's deconstructive play with presences and absences. Above all, he shows that it is an aesthetic which unites body, emotions and intellect and brings into a single focus the political, the spiritual and the erotic.In constructing this reggae aesthetic, Kwame Dawes both creates a rationale for the development of his own writing and brings a new and original critical method to the discussion of the work of other contemporary Caribbean authors.Natural Mysticism has the rare merit of combining rigorous theoretical argument with a personal narrative which is often wickedly funny. Here is a paradigm shifting work of Caribbean cultural and literary criticism with the added bonus of conveying an infectious enthusiasm for reggae which will drive readers back to their own collections or even to go out and extend them!Kwame Dawes is widely acknowledged as the foremost Caribbean poet of the post-Walcott generation. He currently holds the position of Distinguished Poet In Residence and Louise Fry Scudder Professor of Liberal Arts at the University of South Carolina. Softcover, 290pp Peepal Tree Press, 2008

In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition.

Pierre Schaeffer’s In Search of a Concrete Music (À la recherche d’une musique concrète) has long been considered a classic text in electroacoustic music and sound recording. Now Schaeffer’s pioneering work—at once a journal of his experiments in sound composition and a treatise on the raison d’être of “concrete music”—is available for the first time in English translation. Schaeffer’s theories have had a profound influence on composers working with technology. However, they extend beyond the confines of the studio and are applicable to many areas of contemporary musical thought, such as defining an ‘instrument’ and classifying sounds. Schaeffer has also become increasingly relevant to DJs and hip-hop producers as well as sound-based media artists. This unique book is essential for anyone interested in contemporary musicology or media history.

In the tradition of Patrick Leigh Fermor and Geoff Dyer, a Grammy-winning producer discovers a powerful and ancient folk music tradition. In a dark record shop in Istanbul, Christopher King uncovered some of the strangest—and most hypnotic—sounds he had ever heard. The 78s seemed to tap into a primal well of emotion inaccessible to contemporary music. The songs, King learned, were from Epirus, an area straddling southern Albania and northwestern Greece and boasting a folk tradition extending back to the pre-Homeric era. Lament from Epirus is an unforgettable journey into a musical obsession which follows a genre back to the roots of song itself. As King hunts for traces of two long-lost virtuosos, he tells the story of the Roma people who pioneered Epirotic folk music and whose descendants continue the tradition today. His journey becomes an investigation into song and dance’s role as a means of spiritual healing—and what this may reveal about music’s original purpose.

n this captivating memoir, the first full-length account of life in the Arkestra by any of its members, Harlem-born trumpeter Ahmed Abdullah recounts two decades of traveling the spaceways with the inimitable composer, pianist, and big-band leader Sun Ra. Gigging everywhere from the legendary Bed-Stuy venue the East to the National Stadium in Lagos, Abdullah paints a vivid picture of the rise of loft jazz and the influence of Pan-Africanism on creative music, while capturing radical artistic and political developments across Brooklyn and Lower Manhattan in the 1970s and ’80s. Richly illustrated with more than fifty pages of photographs and posters from Adger Cowans, Marilyn Nance, Val Wilmer, and others, A Strange Celestial Road interweaves the author’s own moving story—his battles with addiction, spiritual development, and life as a working class performer—with enthralling tales of tutelage under Cal Massey, collaborations with the likes of Ed Blackwell, Marion Brown, and Andrew Cyrille, and profound, occasionally confounding, mentorship by Sun Ra. Originally written in the 1990s with the help of Nuyorican poet Louis Reyes Rivera and published now for the first time, with a foreword by Salim Washington, A Strange Celestial Road is not only an autobiography, but a history of a remarkable and under-documented movement in music.   --- AHMED ABDULLAH joined the Sun Ra Arkestra as a trumpeter in 1974 and remained a member for more than twenty years. Born in Harlem in 1947, he became an important figure in the New York loft jazz movement, forming the group Abdullah in 1972, and going on to found the Melodic Art-Tet with Charles Brackeen, Ronnie Boykins, and Roger Blank in the early 1970s and The Group with Marion Brown, Billy Bang, Sirone, Fred Hopkins and Andrew Cyrille in 1986. Abdullah is a co-founder of the Central Brooklyn Jazz Consortium, has been the music director of Dianne McIntyre’s Sounds in Motion Dance Company, and is currently music director at the historic venue Sistas’ Place in Bedford-Stuyvesant, Brooklyn. He has been a music instructor at Carnegie Hall and Brooklyn Philharmonic Orchestra, and teaches at the New School for Social Research in Manhattan and an elementary school in central Brooklyn. LOUIS REYES RIVERA (1945–2012) was a Puerto Rican poet from Brooklyn. Known as the “Dean of Nuyorican Poetics,” he led creative writing workshops in community centers and prisons across New York, lectured on Latin and Black diasporic history and literature at New York colleges including Hunter, Boricua, Pratt, and Stony Brook; and was a leader in the 1969 student movement at CUNY, leading to the founding of its department of ethnic studies. Rivera was also a prolific editor, working on books such as John Oliver Killens’s Great Black Russian: The Life and Times of Alexander Pushkin, and a translator of works by Puerto Rican poets Clemente Soto Velez and Otto Rene Castillo. His own poetry collections include Who Pays the Cost (1977), This One for You (1983), and Scattered Scripture (1996), which received an award from the Latin American Writers Institute. SALIM WASHINGTON is a saxophonist, composer, and scholar based in Durban, South Africa, where he is a professor at University of KwaZulu-Natal. He is a co-author, with Farah Jasmine Griffin, of Clawing at the Limits of Cool: Miles Davis,  John Coltrane, and the Greatest Jazz Collaboration Ever (2009) and a contributor to Yellow Power, Yellow Soul: The Radical Art of Fred Ho  (2013).

The success of new far-right movements cannot be explained by fear or rage alone – the pleasures of aggression and violence are just as essential. As such, racism is particularly intense when it is erotically charged, migration presenting as a sexual threat to white women being one of many examples. Germany’s strikingly successful right-wing political party Alternative für Deutschland is, according to the historian Dagmar Herzog, characterized by this “sexy racism”, with its second main feature being that of an obsessive anti-disability hostility – both elements resonating strongly with Nazism. In The New Fascist Body, Herzog connects her analysis of fascism’s libidinous energy with its animus against bodies perceived as imperfect. Only by studying the emotional and intellectual worlds of past fascisms can we understand and combat their current manifestations. Dagmar Herzog is Distinguished Professor of History and the Daniel Rose Faculty Scholar at the Graduate Center, City University of New York. Her many books include The Question of Unworthy Life: Eugenics and Germany‘s Twentieth Century (2024), Cold War Freud: Psychoanalysis in an Age of Catastrophes (2017) and Sex after Fascism: Memory and Morality in Twentieth-Century Germany (2005). Softcover, 112pp Wirklichkeith Books, Berlin, Oct 2025

The American composer and writer John Cage, born 1912, and the German composer Karlheinz Stockhausen, born 1928, have emerged as the leading figures of the bourgeois musical avant-garde. They are ripe for criticism. The grounds for launching an attack against them are twofold: first to isolate them from their respective schools and thus release a number of younger composers from their domination and encourage these to turn their attention to the problems of serving the working people, and second, to puncture the illusion that the bourgeoisie is still capable of producing “geniuses.” — Cornelius CardewOriginally published in 1974, Stockhausen Serves Imperialism is a collection of essays by the English composer Cornelius Cardew that provides a Marxist critique of two of the more revered avant-garde composers of the post-war era: Karlheinz Stockhausen and John Cage. A former assistant to Stockhausen and a champion of Cage in England, Cardew provides a cutting rebuke of the composers’ works and ideological positions, which he saw as reinforcing an imperialist order rather than spotlighting and serving the struggles of the working class. The author also provides constructive criticism of his contemporaries Christian Wolff and Frederic Rzewski for utilizing politically progressive content, yet failing to work in a musical form that would appeal to the proletariat. Cardew’s music does not escape his own scrutiny: the book contains critiques and repudiations of his canonical compositions from the 1960s and early 1970s, Treatise and The Great Learning. Complimenting Cardew’s essays are writings by Rod Eley, who contributes “A History of the Scratch Orchestra,” and John Tilbury, who contributes an “Introduction to Cage’s Music of Changes.” Stockhausen Serves Imperialism was initially published in a single edition by Latimer New Dimensions in 1974 and this edition is the first time the book has been published in its original form since. Cornelius Cardew was an English composer and musician. He became well known in the 1960s for his experimental music and as a proponent in the United Kingdom of avant-garde composers such as John Cage, Morton Feldman, and La Monte Young. He was one of the founders of the Scratch Orchestra and an early member of the free improvisational group AMM. Several of his works from this period are considered hallmarks of post-war experimental music. In the early 1970s, Cardew abandoned avant-garde music and devoted his work to the people’s struggle, becoming more directly involved in left-wing activism. His music from this period took the form of class-conscious folksongs that prioritized drawing attention to social issues over formal innovation. Cardew maintained a critical cultural stance throughout his life, later going on to denounce David Bowie and punk rock as fascist. He took an active role in progressive politics as a co-founder of the Central Committee of the Revolutionary Communist Part of Britain. He was killed in a hit-and-run accident in 1981 under circumstances that many consider mysterious. 126 pgs, 22 × 14 cm, Softcover, 2020.

Available for pre-order Softcover, 407pp Blank Forms Editions, June 2025 The tenth and final anthology from Blank Forms explores the early electronic work of French composer Éliane Radigue, whose radical approach to feedback, analog synthesis, and composition on tape has long evaded historical and technical interpretation. Combining key texts, newly translated primary documents, interviews, and commissioned essays, this compendium interrogates the composer’s idiosyncratic compositional practice, which both embraces and confounds the iterative nature of magnetic tape, the subtleties of amplification, and the very experience of listening. Among these entries is an in-depth overview by cellist Charles Curtis, a close collaborator of Radigue’s, examining the composer’s earliest experiments with feedback techniques and analog synthesis, her eventual shift to composing for unamplified instruments and live performers, and her unique aesthetic configurations of time and presence. A number of detailed conversations between the composer and researchers Georges Haessig, Patrick de Haas, Ian Nagoski, and Bernard Girard provide crucial insights into her working methods at different points throughout her career. Religious studies scholar Dagmar Schwerk reflects upon Radigue’s profound synthesizer work Trilogie de la Mort (1988–93) in the context of Tibetan Buddhist thought and its history, while texts by musicians Daniel Silliman and Madison Greenstone examine, in notably different ways, the technical characteristics of Radigue’s sound practice. Sketches for unrealized work, contemporary reviews, concert programs, and other ephemera mapping the performance history of Radigue’s early work are presented together for the first time. The anthology concludes with a roundtable discussion between Curtis, Greenstone, and Anthony Vine, untangling the knot of paradoxes at the center of Radigue’s artistic practice to trace the thread of her continued “ethos of resistance.”