Felsen’s haunting follow-up to the acclaimed Deceit, a landmark of émigré fiction.  Happiness (1932) is the second novel in Yuri Felsen’s cycle The Recurrence of Things Past. Written as a diary addressed to his beloved Lyolya, it unfolds as an intense stream of consciousness in which Volodya – its anxious, self-scrutinising narrator – revisits the fragile equilibrium of their difficult relationship. When new figures enter Lyolya’s orbit, Volodya’s hard-won certainties begin to collapse. Forced to contend with a series of rivals – a Soviet film star, a dashing ex-soldier, a wealthy businessman – he is driven ever deeper into jealousy and self-analysis, with tragic results. As the relationship fractures, Volodya probes the uneasy bond between emotional suffering and artistic creation, and the elusive nature of happiness itself. Set among the exiled Russian community of interwar Paris, Happiness offers both a vivid social snapshot and an unnerving psychological portrait. Felsen’s exploration of desire, rivalry, masculinity and self-deception, shaped by shifting sexual and emotional mores, feels strikingly modern.trans. Bryan Karetnyk Softcover, 238pp Prototype, 2026

Articles: Shabaka by Tina Edwards, Booker Stardrum by Clifford Allen, Aurora Nealand by Bennett Kirschner, Jazz Now Jazz by Rui Miguel Abreu, The Space Book by Patrick Preziosi, XT by XT (Paul Abbott & Seymour Wright), Naïssam Jalal by Florent Servia, Craig Taborn by Bret Sjerven, the term "Free Jazz" by Pierre Crépon, Alexander Hawkins by Kevin Le Gendre Alan Braufman by Andy Beta, Discaholic column by Mats Gustafsson, album reviews, live reviews, Big Ears Festival photo essay & more.  Softcover, 128 pages We Jazz, Spring 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

Kahlo/Modotti – Forty Years Later is the result of a visit by Laura Mulvey to the Department of Film Studies at the University of Zurich in November 2022. The booklet contains two texts: Mulvey's evening lecture at the Cabaret Voltaire, revisiting hers and Peter Wollen's exhibition and film on Frida Kahlo and Tina Modotti, and Wollen's 2003 essay on the phenomenon of "Fridamania." Focusing on Wollen's and Mulvey's curatorial work and the accompanying film from 1982, the books aims to draw attention to this lesser-known side of their engagement with film and the visual arts. The binary juxtaposition of Kahlo/Modotti, which the film and the exhibition took as a structural principle in the 1980s, becomes a playful quartet in 2024 – Mulvey/Wollen/Kahlo/Modotti – which rearranges and updates the diverse work steps of retrieval, curatorship, exhibition, filmmaking, reception, and reflection.   Laura Mulvey (born 1941, Oxford) is a feminist film theorist and director. Peter Wollen (1938-2019) was a British film theorist and filmmaker.Edited by Pascal Maslon, Volker Pantenburg, Caroline Schöbi, Linda Waack.  bilingual edition (English / German) Softcover, Staplebound, 64 pages (ill.) Harun Farocki Institut, 2024

Paperback, 93pp Litmus Press, 2025Voyage, War, and Exile collects three essays by Etel Adnan that present a multilayered meditation on the author’s life within and without Beirut. Adnan reflects upon the intricacies of family, place, and language, asking what it means to be an Arab woman and writer in exile at the end of a century in which “Exile became the existential and metaphysical condition for every Arab.” At once deeply personal to the life of the author and yet ubiquitous in inquiry, Voyage, War, Exile pulls us into the shifting landscape of Lebanon and the United States in the 20th Century through a weaving of philosophical reflection and memory. This volume includes artwork by Simone Fattal.

First U.S. edition, originally published in the U.K. by MA BIBLIOTHÈQUE, 2020. Under the neon sky of a sick city, which might be London, a nameless governess oscillates between lucidity and dissociation, solitude and communication, wage labor and escape attempts. A wild and unreliable narrator—ardent, delirious, complicit, vengeful, and paranoid—she embodies a perverse and chaotic resistance. An anti-Bildungsroman in the collapsing first person, Yes, I Am A Destroyer is an unbecoming record of memory and forgetting—a relentless undoing. (MA BIBLIOTHÈQUE)Softcover, 140pp Litmus Press, 2025

For sheer unpredictable brilliance, Gogol may come to mind, but no author alive today takes a reader as far as Helen DeWitt into the funniest, most far-reaching dimensions of possibility. Her jumping-off points might be statistics, romance, the art world’s piranha tank, games of chance and of skill, the travails of publishing, or success. “Look,” a character begins to explain, laying out some gambit reasonably enough, though in the face of situations spinning out to their utmost logical extremes, where things prove “more complicated than they had first appeared” and “at 3 a.m. the circumstances seem to attenuate.” In various ways, each of these thirteen razor-sharp tales carries DeWitt’s signature poker-face lament regarding the near-impossibility of the life of the mind when one is made to pay to have the time for it, in a world so sadly “taken up with all sorts of paraphernalia superfluous, not to say impedimental, to ratiocination.”Softcover, 190pp New Directions Publishing, 2018

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, 2020ISBN: 9780578576114

finally there are the rolling stones who call for all these at the same time among them and around them: the policeman, the cross-dresser, the dancer, Frankenstein, the dandy, the robot―from Dusty Pink Written with the hope of achieving a “dreary distant banality,” Jean-Jacques Schuhl's first novel is a subjective stroll through an underground, glamorous Paris, a city that slips into the background but never disappears, hovering on the verge of its own suppression. An elegiac and luminous cut-up, Dusty Pink brings together race wire results, editions of France-Soir, the lyrics to well-known British songs, scripts from famous old films, pharmaceutical leaflets, fashion ads, and strips and scraps of culture in which the avant-garde and academicism blur in an overview of the cultural scene. This world of atmospheres, portraits, and dazzling associations of ideas creates a plane of shimmering surfaces. Published in French in 1972, Jean-Jacques Schuhl's Dusty Pink became a cult classic. This is its first translation.Translated bn Jeffrey Zuckerman Softcover,118pp MIT Press, 2018

The independent British film journal Afterimage published thirteen issues between 1970 and 1987. International in scope, it surveyed the many forms of radical cinema during an extraordinary period of film history. Having emerged in the wake of post-1968 cultural and political change, Afterimage charted contemporary developments with special issues on themes such as the avant-garde, Latin American cinema and visionary animation, and also looked back at early film pioneers. It published many of the leading critics of the period and vitally provided a forum for filmmakers’ writings and manifestos. This indispensable collection includes texts by scholars Noël Burch, Roger Cardinal, B. Ruby Rich and Peter Wollen, filmmakers Jean Epstein, Jean-Luc Godard, Derek Jarman and Jan Švankmajer, plus extended interviews with Hollis Frampton and Raúl Ruiz, and more.Edited by Mark Webber Hardcover, 352 pp, with b/w images throughout The Visible Press, May 2022

Second Edition, 2024, 2000 copies New expanded edition, originally published 2019 210 pp, paperback, umland editions  bilingual english/french"Éliane Radigue is considered one of the most innovative and influential contemporary composers from her early electronic music through to her acoustic work of the last 15 years. Influenced by musique concrète and shaped by regular sojourns in the United States where she discovered analogue synthesizers, her work unfolds an intensity which is at once subtle and monumental. Through her deep reflections on sound and listening, not only her music but also her working methods have come to shape a widely resonating set of new parameters for working with sound as musical material. “In the long interview that forms the body of this publication Radigue talks about her work, her reflections and underlying research as well as her historical context. The publication also contains an annotated list of works and Radigue’s programmatic text on “The Mysterious Power Of The Infinitesimal”.” Edited by Julia Eckhardt with texts by Éliane Radigue and Julia Eckhardt. With 62 black and white illustrations. Julia Eckhardt is a musician and curator in the field of the sonic arts. She is a founding member and artistic director of Q-O2 workspace in Brussels for which she conceptualised various thematic research projects. As a performer of composed and improvised music she has collaborated with numerous artists and extensively with Éliane Radigue. She has performed internationally and released a number of recordings. She has been lecturing about topics such as sound, gender and public space and is (co-)author of The Second Sound, Conversation On Gender and Music, Grounds For Possible Music, and The Middle Matter, Sound As Interstice. ---

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.”Pre-order, end of April Softcover, sewn, 80pp The Last Books, April 2026

Stereolab are one of the most fascinating guitar groups of the past fifty years, a source of constant reinvention and illuminating contrasts, where political ideology meets the sweetest pop melodies and driving guitars rub along with space-age jazz. They are perhaps the greatest Anglo-French collaboration since Concorde—a hugely respected, highly influential group whose fan base grows larger by the year, stretching from chart-topping hip hop artists to underground indie stars. And yet their appeal remains elusive. What kind of music do Stereolab make? What’s their best album? Their greatest song? There are no easy answers. In writing this book, Ben Cardew spoke to more than fifty people from the Stereolab universe to trace the history of the band from the depths of 90s indie London to their all-conquering reunion tour of 2025. Using twenty of their songs as jumping-off points, he examines in loving detail what makes this most fascinating band work, unpicking the cultural references, stylistic contradictions, and brilliant ideas at the heart of the group. Space Age Batchelor Pad Music is designed for dedicated fans and interested newcomers alike, going deep into a band of infinite jest, excellent fancy, and spiralling contradiction. It’s a story of restless creativity and human endeavour spanning more than three decades of enigmatic artistic life.Softcover, 288pp Jawbone, March 2026

The new issue is a celebration of words and their presence in the medium of drawing. In a time of fake news and populism, the word seems to have lost some ground and anti-intellectualism appears to be taking over. It’s more important than ever therefore to praise the written expression in all its forms – whether it’s been rearranged, cut, scribbled or even if it just looks like writing, all of which you can find here. In this issue we show some of Ed Ruscha’s word drawings, which earned him the status of one of the most influential post-war artists. Language similarly became a crucial tool for Sol LeWitt, who wrote out instructions to enable others to execute his drawings. For LeWitt, the idea of the artwork as expressed in words and functions is the essence of a conceptual work. You can read and, if you like, follow the instructions from LeWitt inside this issue of Fukt.  You can also discover the mystery of the undecipherable Voynich Manuscript, get lost in Paula Scher’s sensible typographic maps or Mark Lombardi’s political diagrams and immerse yourself in the Prinzhorn Collection’s remarkable artworks – a collection produced by psychiatric patients. Read interviews with our featured artists such as Stefan Marx, Annie Vought and Suzanne Treister to learn why Marx hates Sundays so much, how Vought makes use of social media in her work, where the idea for Treister’s time travelling avatar came from and much more. Artists: Ed Ruscha, Paula Scher, Simon Evans TM, Sketchbook Project, Irma Blank, Nina Papaconstantinou, Mirtha Dermisache, Ariane Spanier, Suzanne Treister, Karl Holmqvist, Pavel Pepperstein, Ingwill Gjelsvik, Marco Raparelli, Nadine Fecht, Shantell Martin, Katrin Ströbel, Xu Bing, Paula Troxler, Mark Lombardi, Stefan Brüggemann, Sol LeWitt, Pae White, Malgorzata Zurada, Philip Loersch, Stefan Marx, Prinzhorn Collection, Roni Horn, Peter Phobia, Annie Vought, Henri Chopin, Petra Schulze-Wollgast, Thomas Broomé, Meg Hitchcock, The Voynich Manuscript  Softcover, 224pp FUKT Magazine, 2018, reprint 2022

Snagged on red thread is a long poem of protest, power and complicity. Jazmine Linklater articulates how the apparatus of Empire is encoded in the structures we live in: militarised sights set on schoolyards, bargaining arms deals with teenagers, surveilling civic squares, co-opting institutions. And yet Snagged on red thread is compelled to march, to embroider, to bear witness. • ‘What is it to only know the word sweetheart in the language of people being killed in your name? How do we comprehend the paltriness of our gestures against genocide? The speaker of Jazmine Linklater’s Snagged on red thread moves within the intimacies of complicity, not excluding themselves from the we whose taxes fund genocide, or succumbing to individualising games of guilt or absolution. The poem rather weaves then with now – how the “war on terror” normalised the murder of Arabs in the “Western” imaginary for generations. It snags constantly on irresolution, not attempting to tie anything up, but always manages to locate the right enemy.’ – Mira Mattar ‘Snagged on red thread is committed to the act of witnessing, and to witnessing the act of witnessing: “Am I giving the looking / the room demands right?” Linklater tries on, then discards, different ways of looking, none of which are adequate to the horrors the poem describes. In this way it displays an exemplary impatience, with itself, and with those responsible for suffering. How else do you carry on living day-to-day right now? This distraught, tender, vigilant poem responds with answers only too large or too small, and as such it strikes me as truthful: “Try to think geopolitically,” it tells itself, “scoop the ladybird up / with a flyer.”’ – Oli Hazzard Staplebound, 28pp Monitor Books, November 2025

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