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'Bourgeois coldness' describes a contemporary sentiment, with which bourgeois subjects shield themselves from the violence they themselves cause. It examines how racist affective structures are formed along the histories of colonialism and also Enlightenment philosophy. Canonical critical approaches by Adorno and Horkheimer enter a dialogue with the field of Black Studies and thinkers such as Saidiya Hartman, Fred Moten, and Denise Ferreira da Silva.

Ghislaine Leung articulates an art practice, a life, and the necessity to act within a system of limitations. As an artist how can you get out of the hiding position? Her blocks are taken as raw material. To make art is to understand how you are, notice your prejudices and assumptions about value and acknowledge your hand in an unequal world, to recognise how you institute yourself while letting go of the outcome of work. Value is often internalised and mistaken as a positive quality: why does one seek again and again to exploit oneself? Poetic and close up, to the child and to the world, there is proximity without distance. Embodied, deep, with many entry points for the reader, Bosses is Leung's matrix of motherhood, authorship, self-employment, dependency, love and action.

Artificial Gut Feeling explores the traces left in the body by power systems, showing the interrelation between feeling, memory and authority. In search of the most effective self-defence technology, Anna Zett rehearses resistance as a physical practice. Childhood experiences of a sadistic kindergarten teacher and adult experiences of loss traverse the borders between monologue and dialogue. The voices here struggle with the remnants of a masculinist, logocentric state (the German Democratic Republic), and the unfulfilled promises of patriarchal religion.

Night Philosophy is collected around the figure of the child, the figure of the child not just as a little person under the tutelage of adults, but also the submerged one, who knows, who is without power, who doesn't matter. The book proposes a minor politics that disperses all concentrations of power. Fanny Howe chronicles the weak and persistent, those who never assimilate at the cost of having another group to dominate. She explores the dynamics of the child as victim in a desensitized era, when transgression is the zeitgeist and the victim-perpetrator model controls citizens.

Dunja, having finally gotten a little acclaim and money from her writing career, decides it's time to return home to the Adriatic coast and solve the mystery of her brother's death that set in motion the suicide of her father. Flood Tide is a sweeping exploration of the violence born from human ambivalences, limitations and decisions. It is as elegantly plotted and psychologically deft as a Ross Macdonald mystery, and has the idiosyncratic virtuosity of Fernanda Melchor's Hurricane Season.

A key novel from the renowned thinker and Booker-nominated author. Published in the UK for the first time. An account of the frenzy and paranoia of US politics refracted through one individual's psyche.

The case of a psychotic 14 year-old boy presented in its full form by the renowned French psychoanalyst. With transcription of comments and reactions made by the child, his parents and the therapist. Francoise Dolto stands alongside Jacques Lacan as a leading light of the Other French school, but is little translated and curiously unknown in the English-speaking world. In her lifetime, Dolto's research was integrated into schools, hospitals and popular media at a national level. First published in 1971, reading Dominique now gives a granular portrait of an adolescent's subjectivity and its familial and state inheritance. As such the book is an historical example of how the secular Republic of Metropolitan France produced forms of thought. trans. Ivan Kats, revised by Lionel and Sham Bailly Afterword by Michael Ryzner-Basiewicz.

The story of failure asks one question only: What do people who lose do next? 'Let the best one win.' War is one way. The other way is religion. Let me at the stakes. It's so much a matter of patience. No fury, beyond all reason, no sequence broken, but diverted. Nothing seems to cooperate when you lose control. Blue becomes violet. Bend your head to the blank. The solution is so simple: don't identify yourself with your description of yourself.

A ground-breaking document of the life and work of Catalan psychiatrist Francesc Tosquelles. With many texts translated for the first time in English, Healing Institutions is a direct encounter with his clinical, intellectual and political writings, assembled by Joana Maso. Exiled at the end of the Spanish Civil War, Tosquelles joined the Saint-Alban psychiatric hospital in Vichy France, carrying out a transformative clinical practice there until the 1960s. He worked with and against what he had, so that the hospital he helped to create was also the destitution of the structure that was there before. Saint-Alban was an extraordinary political event, a commune, an informal refuge in a time of extreme danger, a sort of upwelling spread through word of mouth. When someone arrived at the asylum, they were welcomed and that welcome never stopped, it was reinforced throughout their stay. This was Tosquelles' notion of hospitality. Each patient was necessary to what was called Saint-Alban. Care happened through a broad range of communal activities for staff and patients: theatre, cinema, collective writing, horticulture, the sorting of coloured pearls, gymnastics, singing, a monthly newspaper. Given state coercion, here the issue was above all the survival of dignity for every patient. The idea of combative asylums is not far-fetched, considering our own conditions: the generalised pathology in society at large, neoliberal governance, technical geopolitics willing to slaughter without blinking, to poison the atmosphere, to extract the minds along with the minerals, to make all of life, human and not human, quite difficult.

Darryl Cook is a cuckold, and that's exactly how he likes it. He has an inheritance that spares him from work, a manageable and seemingly consequence-free drug habit, and a lovely wife called Mindy who's generally game for anything - and for as much of it as she can get. But after an accidental overdose and some serious over-sharing, Darryl's world begins to crack up. Tormented by what seems to be the secret truth in sex, and less assured of that secret's form, Darryl steps into what used to be called real life, as he embarks on a serious if stumbling assessment of himself, and the libertines, lovers and others who make up his world: Bill, a man among men and the last good one; Kit, a good-natured and practical lesbian; Greg, the bully turned bull; Oothoon, his trans poet pen-pal; a polyamorous pair of expert meditators called Satori and Moonbeam; a hamburger; a drop of water; and Clive, an ersatz Englishman, ersatz psychologist, and perhaps an ersatz human being. Darryl is a disarmingly funny and unabashedly intelligent look at a community of people parsing masculinity, marriage, sex (and love) on their own terms.

In This Poor Book, completed just before her death, Howe has gathered a selection of poems and excerpts from the last thirty years, including new and revised poems, and has arranged them into an astonishing singular poem. Howe interrogates the contradiction and violence of the twenty-first century, the misbegotten experiences that have given rise to a culture of authority and adulthood rather than one of innocence and childhood.

Everyone is asking about his identity. Gay? Muslim? French? Moroccan? Instead of choosing a side, he writes a book. A book about the forest and the city, Paris and Tangiers, shame and forgiveness, dating apps and spiritual discovery. A book about growing up as a diaspora kid in rural France, with desires that want to emerge at any cost. Told in mesmerising prose, How to Leave the World is a beautiful non-answer.

Waiting at Aime Cesaire International Airport, in the city of Lamentin, Martinique, Mayra A. Rodriguez Castro browses the bookshop. Alongside works by Cesaire, it offers titles by Frantz Fanon, Maryse Conde and Patrick Chamoiseau. She picks up Negre je suis, negre je resterai, an interview between Francoise Verges and Cesaire, and embarks. Another Sun revisits that initial interview, blending biographical experience and concise summaries of key figures in French anti-racist thought, marking their contemporary relevance. An eclectic, attentive, mobile conversation between Rodriguez Castro and Verges, shaped by ongoing struggles.

Twenty Shadows traces a father and philosopher's spiritual transformation, following the suicide of his son by gunshot after a long addiction. Haunted by this loss and the unknown desire of his only child, Boothby finds a form of expression that was hitherto impossible. He thinks and writes with an openness that verges on the mystic.

What is the relation between family misfortune and desire? Why must we bury the dead? What is to come for those unburied? How to distinguish the endless stream of graphic violence from violence that goes straight to the bone? How does language make up not only the law, but also unwritten laws? In Let Them Rot Alenka Zupancic takes up the ancient figure of Antigone and finds a blueprint for the politics of desire. Not desire as consumption, enjoying what is offered, but desire s oblivion to what came before. Such politics says: 'No, this world must end and I will be the embodiment of that end.' This is not self-satisfied destruction for destruction's sake; it is existence with consequences beyond the predictable. Zupancic asks: 'Why desire?' And this question of desire, which may be the only question, takes the form of a 'no' that is also an 'I.' 'Writing my book on Antigone, I thought: 'There we go, the subject is closed - let's go to sleep.' And then along came Zupancic with her take and compelled me to rethink everything I did. In other words - and this is difficult for me to say - she is better than me here.' - Slavoj Zizek

A Toast to St Martiria is an improvised speech given by the cult Catalan filmmaker Albert Serra at the St Martiria fiesta in Banyoles, the town of his birth. Transmitting his subversive attitude and impulsive lust for life, it is a journey through his formative years and early relationships - established in the nightlife of his hometown - that have shaped his particular conception of cinema, art and life. 'Cinema should be this, making perception of time and space more intense.'

WAVE OF BLOOD is an experimental essay in the poetry of witness, a contemporary war notebook, extending through the US wars on terror that officially began in 2001.

'Dear Miss Maxfield ... what I'm really afraid of is that I am a homosexual human being. I wish you were one too but I don't think it's possible there could be so many in one school, do you? - probably there is only one person who is homosexual in one place at one time and that one person (I am afraid) is me ...' After sixteen-year-old Lynn writes her thirty-seven-year-old English teacher a letter they embark on one of the funniest - and saddest - love affairs in fiction, shrouded in secrecy and guilt.

Violence is arrayed against us because we're Black, or female, or queer, or undocumented. There is no rescue team coming for us. With that knowledge, we need a different operational base to recreate the world. It is not going to be a celebrity savior. Never was, never will be. If you're in a religious tradition that is millennia-old, consider how the last savior went out. It was always going to be bloody. It was always going to be traumatic. But there's a beauty to facing the reality of our lives. Not our lives as they're broken apart, written about, and then sold back to us in academic or celebrity discourse. But our lives as we understand them. The most important thing is showing up. Showing up and learning how to live by and with others, learning how to reinvent ourselves in this increasing wasteland. That's the good life.

Fluid and unselfconscious, these are love poems in the shape of nightmares. Ghayath Almadhoun writes with a surreal mix of scathing humour, serious hope and heteroerotic lust. Caught between two exiles, the one inherited from his Palestinian father and the one he chose and lives, these poems try to explain water and tame hope.

Greek artist and activist Georgia Sagri chronicles the body's recovery from the incarnated pressure imposed by neoliberalism. Bodies and senses are the public, creative processes of political action. Sagri writes case studies, political communiques and analysis to break down the dichotomy between what can be considered life and what can be considered resistance.

Carla Lonzi's Self-portrait transforms traditional conceptions of linear art historical thinking, reimagines the role of the critic, as well as the role of women in the world of art. For the first time now, Carla Lonzi can speak for herself in English, inviting readers to engage in her experimental writing and feminist thinking. Self-portrait is one of the earliest examples of an art critic focusing on artists' processes and subjectivity and transforming herself then, into an artist. This translation brings Carla Lonzi's work to an international audience and forces us to reconsider the trajectory of modern art in Italy and beyond since the 1960s.