Anthology, Fiction Second Edition Soft cover, perfect binding 300 pages Texts in English   New       EUR 32 out of stock

François Peraldi, Polysexuality (Semiotext(e) #10), Semiotext(e), 1995

Originally conceived as a special Semiotext(e) issue on homosexuality at the end of the 70s, “Polysexuality” quickly evolved into a more complex and iconoclastic project whose intent was to do away with recognized genders altogether, considered far too limitative. The project landed somewhere between humor, anarchy, science-fiction, utopia and apocalypse. In the few years that it took to put it together, it also evolved from a joyous schizo concept to a darker, neo-Lacanian elaboration on the impossibility of sexuality. The tension between the two, occasionally perceptible, is the theoretical subtext of the issue. Upping the ante on gender distinctions, “Polysexuality” started by blowing wide open all sexual classifications, inventing unheard-of categories, regrouping singular features into often original configurations, like Corporate Sex, Alimentary Sex, Soft or Violent Sex, Discursive Sex, Self- Sex, Animal Sex, Child Sex, Morbid Sex, or Sex of the Gaze. Mixing documents, interviews, fiction, theory, poetry, psychiatry and anthropology, “Polysexuality” became the encyclopedia sexualis of a continent that is still emerging. What it displayed in all its forms could be called, broadly speaking, the Sexuality of Capital. (Actually the issue being rather hot, it was decided to cool it off somewhat by only using “capitals” throughout the issue. It was also the first issue for which we used the computer).
Includes work by Alain Robbe-Grillet, Félix Guattari, Paul Verlaine, William S.Burroughs, Georges Bataille, Pierre Klossowski, Roland Barthes, Paul Virilio, Peter Lamborn Wilson, and more.


Fiction First ed. of 1000 copies Paperback 148 pages Texts in French   Normal used condition       EUR 110 ORDER

Pierre Klossowski, Roberte ce soir, Les éditions de minuit, 1953

Dans Roberte ce soir, l’auteur s’est borné à déduire du sacrement de mariage une réaction en chaîne à partir de l’anneau conjugal. Si l’on prend à la lettre le couple nucléaire qu’il a représenté - le mari, Octave ne se figurant sa femme Roberte autrement que se surprenant elle-même à se laisser surprendre, celle-ci se jetant dans des initiatives qui doivent la convaincre de sa liberté, quand elles ne feraient que confirmer la vision de l’époux –, on serait encore dans l’invraisemblable. « La vie n’est point réelle », dit l’auteur. Les pensées peuvent s’insinuer ainsi dans les silences et dans le fond de propos qui roulent sur n’importe quoi d’autre, sauf sur ce genre d’attrape concerté. « Mais nous avons vécu de la sorte à nous reprocher mutuellement de ne nous écouter point quand nous nous parlions l’un à l’autre. »

Avec six illustrations de l'auteur.

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