The second Norient book «Seismographic Sounds: Visions of a New World» introduces you to a contemporary world of distinct music, sounds and music videos. Niche Music from Johannesburg to Helsinki, Jakarta to Los Angeles that speaks of a changing geography of multi-layered modernities, far beyond old ideas of North versus South, West versus East. Edited by Theresa Beyer, Thomas Burkhalter, and Hannes Liechti   Scholars, journalists, bloggers and musicians from Bolivia, Pakistan, Nigeria, Switzerland and forty-six other countries discuss artistic expressions that may not make big headlines yet, but anticipate major changes to come. Produced in oftentimes small studios from Jakarta to La Paz, Cape Town to Helsinki, these works experiment with the new possibilities of the Internet age and illuminate new spaces beyond the confines of commercialism, propaganda, and bigotry. They foresee a changing geography of multi-layered modernities, far beyond old ideas of North versus South, West versus East. Discover this through a collage of articles, interviews, quotations, photographs and lyrics. - music and money, music an loneliness, music and war, exotica, gender, sampling-culture, post-digital pop - Punk in Bolivia and Indonesia, Electronic Music in Egypt, Underground Pop from South Africa and Nigeria, Rap in Pakistan, Serbia, Chile and Ghana, Noise Music from Israel, Seapunk and Vaporwave from the US, Post Digital Pop from the UK, Neuer Konzeptualismus, and much more. contributions by Aisha Deme, Jenny Mbaye, Wayne Marshall, Cande Sánchez Olmos, John Hutnyk, Thomas Burkhalter, Andy Bennett, Theresa Beyer, Sandeep Bhagwati, Hillegonda C. Rietveld, Ali Haider Habib, Arie Amaya-Akkermans, Martin Daughtry, Hannes Liechti, Derek Walmsley, Elijah Wald, C-drík Fermont, FrankJavCee, Florian Sievers, Percy Mabandu, Louise Gray, Nabeel Zuberi, Kimberly DaCosta Holton, Julio Mendívil, Oliver Seibt, Nana Darkoa Sekyiamah, Emma Dabiri, Jonathan Fischer, B Camminga, Sonja Eismann, Michael Rebhahn, Eduardo Navas, Adam Harper, and many more.edited by Theresa Beyer, Thomas Burkhalter, Hannes Liechti Softcover, 504ppNorient Books, Bern, 2015Languages: English (75%), German (24%), French, Italian (1%)

The new Norient book Home is Where the Heart Strives explores what place means in relation to music and sound. 85 contributors from 38 countries map their sonic landscapes of migration, war, queerness, and home through essays, poems, articles, artworks, photos, and songs. From a metalhead smuggling banned tapes across the Syrian border to an oasis in the mountains of Bogotá where people gather to vogue, we are looking for places where differences don’t dissolve but resonate.   with contributions by Lendl Barcelos, Bananamonkey, Basil Anliker aka Baze, Marina Benetti, Persis Bekkering, Birds WG, Penelope Braune, Thomas Burkhalter, Kadallah Burrowes, Sinatra Chumo, Juliana Cuervo, Sumangala Damodaran, Domingos, Rana Eid, Ronja Falkenbach, Faravaz Farvadin, Šejma Fere, Vera Fonseca, Chandra Frank, Sally Garama, Dennis Gupa, Rehab Hazgui, Sizo Hlope, Hitman Kaht, Umi Hsu, Ibaaku, Andra Ivănescu, Bruce Johnson, Devangana Kalita, Paul Kammies, Raphael Kariuki aka djrPH, Karun, Anahid Kassabian, Paola LaForgia, Sasha J. Langford, Lutivini Majanja, Chris McGuinness, Elia Meier, Luigi Monteanni, Zahra Motallebi, Jesse Munene, Isaac Abraham Williams aka Isaac Mutant, Natasha Narwal, Janina Neustupny, Saba Niazmand, Kai Oh, Shaahin Peymani, Vinzent Maria Preuẞ, Nazifah Raidah, Philipp Rhensius aka Alienationist, Urs Rihs, Rami Sabbagh, Tanasgol Sabbagh, Sergio Salazar, Justin Oliver Salhani, Jacek Szczepanek Nate Sloan, André Santos, Diana Santos, Ali Sayah, Tillman Severin, Martin Stokes, Studio Flux, Anubhuti Sharma, Majd Shidiac, Jorgé Aarón Silva Rodríguez, Thasil Suhara Backer, Suvani Suri, Gisela Swaragita, Pjotr Tkacz-Bielewicz, Shzr Ee Tan, Wiwi Tri, Fujiko Urdininea, Maria Uthe, Ujif_notfound, Upendra Vaddadi, Abhishek Vidyarthy Singh, Johann Voigt, Elijah Wald, McKenzie Wark, Arief Wibisono, Ytasha Womack, Kimihiro Yasakaedited by Philipp Rhensius, Janina Neustupny, Thomas Burkhalter, Hannes Liechti, and Vinzent Maria Preuß    Softback ,16.5 × 23.5 cm, full colour, 314ppNorient Books, Bern, July 2025

The Norient Special Sonic Traces: From Italy is a multi-layered, multimedia approach to the open question of «Italian Identity» in sound and music. Through a variety of approaches, from essay to memoir, interview, video playlist, and open letter, Sonic Traces: From Italy hopes to foster a broader conversation on the past and present of Italian culture, as it asks the unanswered question: What can be labeled as Italian music, after all?  edited by Francesco Fusaro With contributions by Riccardo Balli, Lorenzo Brusci, Federico Campagna, Lorenzo Cibrario, Luca Locati Luciani, Sonia Garcia, Paola Laforgia, Marco Mancassola, Maria Catena Mancuso, Nathasha Edirippulige Fernando, Seb Patane, Agostino Quaranta, Bruno Rana, Justin Salhani Softcover, 132pp Norient Books, Bern, May 2021

When Ursula K. Le Guin started writing a new story, she would begin by drawing a map. The Word for World presents a selection of these images by the celebrated author, many of which have never been published before, to consider how her imaginary worlds enable us to re-envision our own.  Le Guin’s maps offer journeys of consciousness beyond conventional cartography, from the Rorschach-like archipelagos of Earthsea to the talismanic maps of Always Coming Home. Rather than remaining within known terrain, they open up paradigms of knowledge, exemplified by the map’s edges and how a map is read, made and re-made, together. The Word for World brings her maps together with poems, stories, interviews, recipes and essays by contributors from a variety of perspectives to enquire into the relationship between worlds and how they are represented and imagined.  Contributors: Federico Campagna, Theo Downes-Le Guin, Daniel Heath Justice, Bhanu Kapil, Canisia Lubrin, Una McCormack, David Naimon, Nisha Ramayya, Shoshone Collective, Standard Deviation, Marilyn Strathern. Co-published by Spiral House and AA Publications to coincide with an exhibition of Ursula K. Le Guin’s maps at the Architectural Association, London, opening on 10 October 2025.  edited by So Mayer & Sarah Shin Paperback, 112 pp Spiral House, October 2025

‘Palestine is everywhere because it names a political subject of radical universal emancipation,’ writes teacher and writer Nasser Abourahme. In Palestine is everywhere, writers, thinkers, poets and artists map the Palestinian struggle for freedom and its global resonances. Vital dispatches from Gaza, essays, poems, protest chronicles, images and letters from prison reflect upon resistance, solidarity and the right to self-determination. Amid a world-historical moment marked by unknowability and loss, this collection offers essential reading for those interested in Palestinian liberation. This collection is edited by Skye Arundhati Thomas, with contributions from Alaa Abd El-Fattah, Nasser Abourahme, Amal Al-Nakhala, Muhammad Al-Zaqzouq, Maisara Baroud, Ahmed Bassiouny, Houria Bouteldja, Anees Ghanima, Sahar Khalifeh, Laleh Khalili, Lujayn, Mira Mattar, Lina Meruane, Mohammed Mhawish, Nahil Mohana, Rahul Rao, Nasser Rabah, Adam Rouhana, Ahmad Zaghmouri. Co-published by TBA21. Visit the Palestine is everywhere digital platform. All royalties from this project will be donated to Medical Aid for Palestinians (MAP) and The Arab Group for the Protection of Nature (APN).edited by Skye Arundhati Thomas Paperback, 192pp Silver Press, October 2025

Malory walks home after an ordinarily gruelling night out, having escaped the company of her associates. Something ripples in the darkness. The shape of a figure. So begins a chain of events with the texture of dream plasma. A story of persecution mania. Professional ignominy. A sudden disappearance. The terror of seeing oneself too clearly... Part horror story, part tragicomic nightmare, Ghost Driver is a slim shudder of a novel about a woman who has taken every wrong turn available to her.Paperback, 174pp Moist Books, London, September 2025

Bourgeois coldness refers to an affective strategy that offers an explanation for how self-preservation works. Bourgeois coldness is one of the most advanced affective and aesthetic forms of preserving the structure of the colonial status quo. It creates an affective shelter in the world, unencroached upon by the immediate consequences of its many catastrophes. It functions like air conditioning – a complex technology which reliably stabilises the climate until those inside consider it natural. Bourgeois spaces – institutional and affective – stay cool and pleasant. But outside it’s burning.Canonical critical theory by Adorno and Horkheimer enters a dialogue with Black studies through Hartman and Moten.trans. Grace Nissan   Softcover, 280pp Divided, London, September 2025

Shulamith Firestone’s visionary first book The Dialectic of Sex dared to look at how feminism could shape the future. Finding herself drifting into a new ‘airless space’ after her experience of New York City radical feminist groups, Firestone wrote her first work of fiction.  Airless Spaces portrays the psychic suffering, bureaucratized poverty and small crises of everyday life. In a series of vignettes about institutions and identity, Airless Spaces follows characters in psychiatric wards and out in the streets of New York City to move beyond the spectacular and frightening surfaces of institutional spaces to record acts of cruelty and kindness. With an accompanying Reader featuring contributions by Laya Seghi, Lourdes Cintron, Susan Faludi, Chris Kraus, Lola Olufemi and Hannah Proctor.  Softcover, 256pp Silver Press, London, April 2025   "The very short stories in Airless Spacesmasterfully depict all kinds of minor atrocities that eventually lead to each person’s downfall: a forced shower, a snub, a slow-moving bureaucracy, a repurposed lounge." - Chris Kraus

Optically Suspicious is a publication by Matrijaršija on the life, work, and cultural and artistic activities of the Union of Graphic and Typographic Workers of Yugoslavia. The book is the result of research in the Union’s archives in the Printed Material Collection of the Museum of Yugoslavia in Belgrade. Matrijaršija reconstructs the forgotten history of the leftist graphic and typographic workers by studying the Union’s posters and leaflets, which bear witness to their rich artistic and cultural programme realised between 1920 and 1941. The book offers engaging theoretical discussions on the importance of cultural and artistic (self-)organisation and the significance of solidarity among workers in the printing industry. The members of the Matrijaršija collective bring this history to life in a series of collages, visual poems, plays, and short stories. Optically Suspicious is the first volume in the ‘tehnika’ series, which focuses on the technical aspects of radical publishing practices. The volumes in the series will discuss the ways in which radical and independent publishing practices introduce entirely new forms of printing, typography, design, distribution and content. Edited by Rab-Rab Press, Matrijaršija and Baraba, the aim of the series is to deal with the actuality of the fluid form of revolutionary printing “techniques” and to develop and connect them with contemporary publishing practices. Conceived, designed and printed by Matrijaršija, Optically Suspicious is entirely manufactured with risporint and is the expanded edition and translation of the first Serbo-Croatian version published in 2022 in collaboration with the Museum of Yugoslavia. Founded in 2014 in Belgrade, the autonomous cultural centre Matrijaršija is a collective focused on printmaking and independent publishing. With over a decade of experience in screen printing and five years in risograph printing, it promotes experimental techniques and practices, as well as alternative forms of artistic organisation.Pocket-sized Hardcover  Rab-Rab,

In BODYBUILDER, Derek Coulombe forms an elliptical correspondence between his own experience of Tourette’s Syndrome and Umberto Boccioni’s futurist sculpture Unique Forms of Continuity in Space. In this hybrid genre work of fabulist criticism Boccioni's sculpture becomes an obsessively deconstructed central character through which Coulombe reflects on the inherently repetitive, scatological, and convulsively queer properties of his own Tourettic situation.    Tourette’s Syndrome (a movement disorder that causes involuntary tics, convulsions, movements, and utterances) causes a body to assume specific physical shapes in the world without the body having meant to do so, and in this way, produces a scenario where the affected body is both assuming postures as well as watching these postures being enacted from a remove. This forced, partial removal creates a unique situation where Coulombe can view his body as an external object—as a series of surfaces and volumes—as something more like a sculpture or a painting. From this specifically disordered framework, Coulombe takes Unique Forms of Continuity in Space as a kind of malleable proxy where the sculpture becomes a figurative hub for an exploration of disabled embodiment and movement through the production of increasingly aberrant fictive vignettes.Softcover, 126 x 178mm, 84 pages Hildegard Press, Canada 2024

We Jazz Magazine, Issue 16 / Fall 2025 "Thembi" for Pharoah Sanders. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. 50 pages of Pharoah Sanders by Philip Arneill, Henry Boon, Pierre Crépon, Tony Higgins, Arsi Keva, Patrick Preziosi, Andy Thomas, Seymour Wright, Tomoki Sanders by Tej Adeleye, Don Cherry by Magnus Nygren, Sinsuke Fujieda by Rui Miguel Abreu, Jameszoo by Rob Garratt, Tony Purrone by Wolfgang Mowrey, Reco's Mini LP Covers, Discaholic column by Mats Gustafsson, album reviews, live reviews, photo essay & more. Front cover illustration by Nina Eggeman / JAW Family.Magazine, Softcover, 128pp We Jazz, Helsinki, Autumn 2025

We Jazz Magazine, Issue 15 / Summer 2025 "Forfolks" for Jeff Parker. 128 pages, 170 x 240 mm in size and printed on 140g Edixion paper with laminated 300g Invercote covers. All articles presented in English. Jeff Parker by Andy Beta, Peter Margasak & Scott McNiece, Elaine Brown by Pierre Crépon, David Murray by Bret Sjerven, Adele Sauros by Wif Stenger, Rafael Toral by HT Nuotio, Lush Life by Seymour Wright, The Connection by Patrick Preziosi, Nels Cline by Bret Sjerven, Discaholic Column by Mats Gustafsson, album reviews, book reviews, live reviews, photo essay & more.Softcover Magazine, 120pp We Jazz, Helsinki, Summer 2025

The short-lived Blitz club in London’s Covent Garden was more than somewhere to hang out or be seen: it was a catalyst for cultural explosion, a counter-culture blast against everything Thatcher’s leadership had ushered in by the dawn of the 80s. Tuesday nights boasted a ferocious, fearless cast – from Boy George and Spandau Ballet to Grayson Perry and Peter Doig, to Michele Clapton, Sade and Alexander McQueen. This was the vanguard of a different England; socially liberal, loud, proud and diverse, fiercely individualistic and determined to succeed. Britain was black and white; the Blitz Kids switched on the colour. In Blitz, Elms reflects on a club night founded by working-class kids, one whose impact reverberated beyond its doors, through the worlds of Art, Literature, Fashion and Music, and into the present day.Hardcover, 285pp faber & faber 2025

"Wesley Brown is a writer's writer. His dialog in Blue in Green is remarkable. He knows the varieties of the American language in and out. We get fascinating portraits of Dizzy Gillespie, Thelonious Monk, Billie Holiday, Clark Terry, Lena Horne, Katherine Dunham, Eartha Kitt, and others. An insider named Freeloader provides comic relief. Before the salespersons dictated trends in Black literature, a major publisher would have published this book. Thanks to Blank Forms and other midsize presses, the Black literary tradition, whose fictional standards were set by Brooks, Wright, Himes, Polite, Bambara, and others, is alive."—Ishmael Reed "Wesley Brown attempts a difficult thing with this book: He attempts to walk inside the consciousness of Miles Davis at a very complex point in his very complex life. Beaten by police for smoking a cigarette outside Birdland, married to a brilliant and accomplished dancer, leading a sextet that has genius at every station, and fending off demons that are co-authors of his being, Brown's Miles is a man who is troubled and proud. This novella is lyrical, insightful, and beautiful."— A. B. Spellman "Blue in Green is a gorgeous jazz composition. In love and in torment, Miles Davis and Frances Taylor are co-creators and lead soloists. Brown surrounds them with an ensemble of brilliant friends, rivals, and mentors: Monk, Coltrane, Cannonball Adderley, Katherine Dunham, Lena Horne, Eartha Kitt. All have their say—shrewd, ebullient, dissonant. When I closed the book, I wanted to begin it all overagain: see, hear, and re-experience every note of Wesley Brown's wonderful prose music."—Margo JeffersonWesley Brown narrates the day when trumpeter Miles Davis was assaulted by the New York Police Department. A dramatic and humorous story, told from multiple perspectives including that of Frances Taylor, Davis's wife, and the musicians in Davis's bands: a timely meditation on the psychological impact of police brutality, through the lens of a day in the life of Miles Davis. The latest work from the veteran novelist called "one hell of a writer" by James Baldwin and "wonderfully wry" by Donald Barthelme, Blue in Green narrates one evening in August 1959, when, mere weeks after the release of his landmark album Kind of Blue, Miles Davis is assaulted by a member of the New York City Police Department outside of Birdland. In the aftermath, we enter the strained relationship between Davis and the woman he will soon marry, Frances Taylor, whom he has recently pressured into ending her run as a performer on Broadway and retiring from modern dance and ballet altogether. Frances, who is increasingly subject to Davis's temper—fueled by both his professional envy and substance abuse— reckons with her disciplined upbringing, and, through a fateful meeting with Lena Horne, the conflicting demands of motherhood and artistic vocation. Meanwhile, blowing off steam from his beating, Miles speeds across Manhattan in his sports car. Racing alongside him are recollections of a stony, young John Coltrane, a combative Charlie Parker, and the stilted world of the Black middle class he's left behind. --- Wesley Brown (born 1945) is an Atlanta-based writer and educator whose work spans fiction, poetry, biography, theater, and film. His oeuvre is distinguished by its attention to the musicality of speech and its balance of humorous, ironic, and political engagement with American history. In 1956, while a student at State University of New York at Oswego, Brown joined the Student Nonviolent Coordinating Committee, moving south to register voters with the Mississippi Freedom Democratic Party near the Tennessee border, where he first began to write poetry. After an arrest at a demonstration in Jackson, Mississippi, he graduated college and moved to Rochester, New York, in 1968, where he became an active member of the Black Panther Party before returning to his native New York City to join writing workshops led by Sonia Sanchez and John Olliver Killens. In 1972 he was arrested as a conscientious objector to the Vietnam War; in a statement to the draft board he quoted the Panther's Ten Point Program, adding, with his signature use of idiomatic expression, "If you can't relate to that, you can walk chicken with your ass picked clean." He served an eighteen month sentence at Lewisburg Federal Penitentiary in Pennsylvania, which informed the writing of his recently reissued first novel, Tragic Magic (Random House)—edited by Toni Morrison and released to wide acclaim by writers including James Baldwin, Donald Barthelme, and Ishmael Reed in 1978. His short fiction and essays have been published widely, from movement publications such as Liberator to glossies including Essence. For twenty-six years Brown taught literature and creative writing at Rutgers University in New Jersey. During this time he was involved with the National Association of Third World Writers; co-edited celebrated collections of multicultural American literature, authored the historical novel Darktown Strutters (Cane Hill, 1994) and award-winning plays including Boogie Woogie and Booker T. (1987) and Life During Wartime (1992); and wrote, with Thulani Davis, Toni Cade Bambara, and Amiri Baraka, the screenplay for W.E.B. Du Bois: A Biography in Four Voices (1996). After retiring, he relocated to New England, where he taught at Bard College at Simon's Rock in Massachusetts and Bennington College in Vermont, and authored his third novel, Push Comes to Shove (Concord Free Press, 2009), and the short story collection Dance of the Infidels (Concord ePress, 2017).

A woman settles in a remote Polish village. It has few inhabitants, but it teems with the stories of its living and its dead. There’s the drunk Marek Marek, who discovers that he shares his body with a bird, and Franz Frost, whose nightmares come to him from a newly discovered planet. There’s the man whose death – with one leg on the Polish side, one on the Czech – was an international incident. And there are the Germans who still haunt a region that not long ago they called their own. From the founding of the town to the lives of its saints, these shards piece together not only a history but a cosmology. Another brilliant ‘constellation novel’ in the mode of her International Booker Prize-winning Flights, House of Day, House of Night is a brilliantly imaginative epic novel of a small place by Olga Tokarczuk, one of the most daring and ambitious novelists of our time.Translated by Antonia Lloyd-Jones French paperback with flaps, 336 pagesFitzcarraldo, September 2025   Olga Tokarczuk is the author of nine novels, three short story collections and has been translated into more than fifty languages. Her novel Flights won the 2018 International Booker Prize, in Jennifer Croft’s translation. She is the recipient of the 2018 Nobel Prize in Literature. House of Day, House of Night is her fifth novel to appear in English with Fitzcarraldo Editions. Antonia Lloyd-Jones has translated works by many of Poland’s leading contemporary novelists and reportage authors, as well as crime fiction, poetry and children’s books. Her translation of Drive Your Plow Over the Bones of the Dead by 2018 Nobel Prize in Literature laureate Olga Tokarczuk was shortlisted for the 2019 International Booker Prize.

Monolithic Undertow alights a crooked path across musical, religious and subcultural frontiers. It traces the line from ancient traditions to the modern underground, navigating archaeoacoustics, ringing feedback, chest plate sub-bass, avant-garde eccentricity, sound weaponry and fervent spiritualism. From Neolithic beginnings to bawdy medieval troubadours, Sufi mystics to Indian raga masters, cone shattering dubwise bass, Hawkwind's Ladbroke Grove to the outer reaches of Faust and Ash Ra Temple; the hash-fueled fug of The Theatre of Eternal Music to the cough syrup reverse hardcore of Melvins, seedy VHS hinterland of Electric Wizard, ritual amp worship of Earth and Sunn O))) and the many touch points in between, Monolithic Undertow explores the power of the drone - an audio carrier vessel capable of evoking womb like warmth or cavernous dread alike.In 1977 Sniffin' Glue verbalised the musical zeitgeist with their infamous 'this is a chord; this is another; now form a band' illustration. The drone requires neither chord nor band, representing - via its infinite pliability and accessibility - the ultimate folk music: a potent audio tool of personal liberation. Immersion in hypnotic and repetitive sounds allows us to step outside of ourselves, be it chant, a 120dB beasting from Sunn O))), standing front of the system as Jah Shaka drops a fresh dub or going full headphone immersion with Hawkwind. These experiences are akin to an audio portal - a sound Tardis to silence the hum and fizz of the unceasing inner voice. The drone exists outside of us, but also - paradoxically - within us all; an aural expression of a universal hum we can only hope to fleetingly channel... Paperback, 464pp White Rabbit, Feb, 2022

Effects 4 orbits around holes. Holes draw our attention to the periphery, the edges of the visible, bringing to the fore what typically disappears into the margin. The issue explores holes in the psyche and the body, political and philosophical holes, holes in architecture and geology, holes as destructive as well as productive, holes as grave-pits, holes as birth-canals. Effects 4: Holes includes new essays on holes by Richard Boothby, Lorens Holm, Ani Maitra, Tabitha Steinberg, Noel W Anderson, Hilary White, Tim Martin, Jeffrey Stuker and Christopher Page; interviews with artists Paul Pfeiffer and Mary Helena Clark on holes and their work; new poems on holes by Daisy Lafarge and Christopher Carlton; and artworks the mobilise holes and voids by Eric N. Mack, Milano Chow, Larissa Sansour and Søren Lind, Adam Putnam, Carolee Schneemann, Clementine Keith-Roach, Jess Gough, Patricia Treib, Lyndon Harrison, Natalia Romik, Lakshmi Luthra and Nnena Kalu.Softcover, 240 × 180 mm, 218 pp.Full colourEffects, 2025  https://effects-journal.com/about Effects is a journal of art, poetry and essays. It is devoted to thinking about aesthetic effects, their social and philosophical histories and contemporary lives. Effects was founded in 2018 by Christopher Page and Orlando Reade and is currently edited by Clementine Keith-Roach, Lakshmi Luthra, Christopher Page, Matt Rickard, Jeffrey Stuker, Florence Uniacke and Jan Tumlir.

Issue #13 of TALKER is a conversation with Bobby Baker. Bobby’s acclaimed intersectional feminist practice includes performance, drawing, and installation. It persistently exposes the undervalued and stigmatised aspects of women’s daily lives. Her live work in particular has been a distinctive and significant contribution to the shape performance art has taken over the past five decades. In this career-spanning interview, Bobby describes her creative journey from encounters with a germinal performance art scene at St. Martins School of Art in the early 1970s to current collaborative and participatory projects.  She is generously open about her process, sharing accounts of a practice that, though often playfully witty and wild, never shies from darker and more complex themes bound up in challenges with mental health, structural sexism and gendered labour in domestic spaces. Her 1976 installation, An Edible Family in a Mobile Home (1976) was remade in 2023 as part of Women in Revolt! Art and Activism in the UK 1970–1990 at Tate Britain which toured to the Whitworth, Manchester in 2025.   Regular price£8.00Giles Bailey, 2025 Softcover Staplebound, 280 x 180mm, 20pp Risograph throughout