These discussions between legendary painter, film-maker, and poet Marcus Reichert and Edward Rozzo, professor of photographic semantics and visual culture and renowned professional photographer, are a revelation for their intimacy and honesty. Reflecting on subjects as diverse as technique, eroticism, spirituality, and the dictates of an increasingly powerful bureaucracy of galleries and museums, Reichert and Rozzo come to some startling and compelling conclusions. Generously illustrated in colour with works by such visionary artists as Antonin Artaud, Francis Bacon, Nan Goldin, and William Eggleston, ART & EGO is essential reading for anyone drawn to confessional writing of a disarming and amusing nature.

the novel's plot revolves around the beautiful fat man Diego Ildefonso, once a refugee from Franco's Spain, and his wife and child and their American friends. Manslaughter and kidnapping haunt the Ildefonso, Nolan, and Rozzo families from the opening pages. Rich in duplicity and betrayal, Hoboken is a study in corrupted idealism and blind allegiance. Its characters lurch from one incident to the next subservient to consumerism, tabloid sexuality, and the need to be admired at any cost. No one leaves Reichert's Hoboken unscathed. Marcus Reichert is the author of the novels Verdon Angster (1995) and The Miracle of Fontana's Monkey (1997). Displaced Person: Poetry, Pornography & Politics (Selected Writings 1970-2005) and Art & Ego: Marcus Reichert in Conversation with Edward Rozzo (2007) and are published by Ziggurat Books.

Percy Lifar', a Play in Two Acts, 1986, as represented by Curtis Brown Ltd., London and performed by The Hot Toddy Theatre Company (Mark Normandy, Director), The Photographers' Gallery, London, 198

A collection of observation and personal reminiscence on the precarious subject of death, written in language that is academic, poetic and sometimes, revealingly, both.

With over 200 images in colour and personal accounts by Deborah Harry, writer/director Marcus Reichert, and Amos Chan, this book is destined to become a cult classic like the film itself. It is rare that a film is documented so beautifully or so intimately. Especially fascinating are the shots of Deborah Harry acting in her first starring role, and the behind-the-scenes images of Deborah being transformed by make-up artist Richard Dean into the character Lillian. Film clips and stills from lost scenes are also included.