The complete art world story/essays of the fictional Madame Realism, collected for the first time. The Complete Madame Realism and Other Stories gathers together Lynne Tillman's groundbreaking fiction/essays on culture and places, monuments, artworks, iconic TV shows, and received ideas, written in the third person to record the subtle, ironic, and wry observations of the playful but stern "Madame Realism." Through her use of a fictional character, Tillman devised a new genre of writing that melded fiction and theory, sensation, and critical thought, disseminating her third-person art writer's observations in such magazines as Art in America and in a variety of art exhibition catalogs and artist books. Two decades after the original publication of these texts, her approach to investigation through embodied thought has been wholly absorbed by a new generation of artists and writers. Provocative and wholly pleasurable, Tillman's stories/essays dissect the mundane with alarming precision. As Lydia Davis wrote of her work, "Our assumptions shift. The every day becomes strange, paradox is embraced, and the unexpected is always around the corner." This new collection also includes the complete stories of Tillman's other persona, the quixotic author Paige Turner (whose investigation of the language of love overshoots any actual experience of it), and additional stories and essays that address figures such as the "Translation Artist" and Cindy Sherman.

A novel that describes, with devastating, darkly comic clarity, its narrator's experience of being diagnosed with AIDS. First published by Gallimard in 1990, To the Friend Who Did Not Save My Life describes, with devastating, darkly comic clarity, its narrator's experience of being diagnosed with AIDS. Guibert chronicles three months in the penultimate year of the narrator's life as, in the wake of his friend Muzil's death, he goes from one quack doctor to another, describing the progression of the disease and recording the reactions of his many friends. The novel scandalized the French media, which quickly identified Muzil as Guibert's close friend Michel Foucault. To the Friend became a bestseller, and Guibert a celebrity. Guibert continued to document the daily experiences of his body in a series of novels and diaries, mostly published posthumously. To the Friend has since attained a cult following for its intimate and candid tone, its fragmented and slippery form. As Edmund White observed, "[Guibert's] very taste for the grotesque, this compulsion to offend, finally affords him the necessary rhetorical panache to convey the full, exhilarating horror of his predicament." In his struggle to piece together a language suited to his suffering, Herve Guibert catapulted himself into notoriety and sealed his reputation for uncompromising, transgressive prose.

A memoir of gay life in 1970s Long Island by one of the leading proponents of the New Narrative movement. Fascination brings together an early memoir, Bedrooms Have Windows (1989) and a previously unpublished prose work, Bachelors Get Lonely, by the poet and novelist Kevin Killian, one of the founding members of the New Narrative movement. The two together depict the author's early years struggling to become a writer in the sexed-up, boozy, drug-ridden world of Long Island's North Shore in the 1970s. It concludes with Triangles in the Sand, a new, previously unpublished memoir of Killian's brief affair in the 1970s with the composer Arthur Russell. Fascination offers a moving and often funny view of the loneliness and desire that defined gay life of that era-a time in which Richard Nixon's resignation intersected with David Bowie's Diamond Dogs-from one of the leading voices in experimental gay writing of the past thirty years. "Move along the velvet rope," Killian writes in Bedrooms Have Windows, "run your shaky fingers past the lacquered Keith Haring graffito: 'You did not live in our time! Be Sorry!'"

Simon Moretti is known for his enigmatic exhibition works, presenting displays that engage with questions of agency, temporality, automatism, desire and masculinity. Incorporating appropriated images and archives as well as curatorial and publishing projects, often made in collaboration with other artists, his work addresses the role of 'curating as practice'. Presented as a non-chronological visual essay, this publication surveys 10 years of collage works by Moretti. It includes text contributions from writer Craig Burnett, curator and art historian Yuval Etgar, novelists Deborah Levy and Chloe Aridjis, and a conversation with Andrew Durbin, editor-in-chief of frieze magazine.