A lively and spontaneous interview with Etel Adnan about her absolute belief in the beauty of the world and the beauty of art.  In these interviews with journalist and editor Laure Adler, conducted in the months before her death in November 2021, Etel Adnan traces with depth and emotion the founding experiences of her artistic approach, between poetry and painting. From her youth in Lebanon, her American years in New York and California, to her late recognition at Documenta in 2012 and her life in France, the conversation covers philosophy, painting, poetry and aesthetics, as well Adnan's views on history and politics in Europe, the Middle East, and the United States. These transcripts usher the experiences and observations of Adnan's long and rich life into an intimate and spontaneous conversation with a dear friend—a window on the “universe� of her imagination.

Etel Adnan's evocative new book places night at its center to unearth memories held in the body, the spirit and the landscape. This striking new book continues Adnan's meditative observation and inquiry into the experiences of her remarkable life.

A new volume of aphoristic prose and philosophical poetry from Etel Adnan, whose work The New York Times recently described as the "meditative heir to Nietzsche's aphorisms, Rilke's Book of Hours and the verses of Sufi mysticism." She writes: "Reality is messianic/apocalyptic/ my soul is my terror."

These interrelated meditations explore the nature of the individual spirit and the individual spiritedness of the natural world. As skilled a philosopher as she is a poet, in Sea & Fog, Adnan weaves multiple sonic, theoretical, and syntactic pleasures at once.

A mosaic of lyrical vignettes, at once deeply personal and political, set against the turbulent backdrop of Arab/Western relations. Adnan writes, "Contrary to what is usually believed, it is not general ideas and grandiose unfolding of great events that impress the mind during times of heightened historic upheavals, but rather the uninterrupted flow of little experiences, observations, disturbances, small ecstasies, or barely perceptible discouragements that make up day-to-day living."

Etel Adnan, a Lebanese American poet, painter, and essayist, lives in Paris, Beirut, and the San Francisco Bay Area. Among her books, the novel "Sitt Marie Rose" is considered a classic of Middle Eastern literature. She has been a powerful voice for compassion and empowerment in feminist and antiwar movements.

Shifting the Silence does just that, breaks the social taboo around writing and speaking about our own deaths. In short unrelenting paragraphs, Adnan enumerates her personal struggle to conceptualize the breadth of her own life at 95, the process of aging, and the knowledge of her own inevitable death. The personal is continuously projected outwards and mirrored back through ruminations on climate catastrophe, California wildfires, the on-going war in Syria, planned missions to Mars, and the view of the sea from Adnan's window in Brittany in a poignant often painful interplay between the interior and the cosmic.

Pars Pro Toto III is the result of a close dialog between Egyptian-German artist Susan Hefuna and curator Hans Ulrich Obrist. The focus in this book is on Hefuna's complex work groups on site-specific and architectural installations, video works and choreographies. Hefuna uses urban spaces and cities like Cairo, London, Istanbul, Sharjah, Sydney, New York, and Vienna as her laboratory. The artist interacts with dancers, communities, urban and human structures in both personal and political ways. Pars Pro Toto III also features a foreword by Hans Ulrich Obrist, an interview with the Egyptian writer Nawal El Saadawi, as well as texts by the Lebanese-American artist and poet Etel Adnan, by Negar Azimi, Senior Editor of BidounMagazine, and by Brett Littman, director of the Drawing
Center, NYC

WINNER of the INTERNATIONAL GRIFFIN POETRY PRIZE WINNER of the BEST TRANSLATED BOOK AWARD FINALIST for the 2020 LAMBDA LITERARY AWARD On October 27, 2003, Adnan received a post card of a palm tree from the poet Khaled Najar, who she had met in the late seventies in Tunisia, sparking a collection of poems that would unspool over the next decade in a continuous discovery of the present moment. Originally written in French, these poems collapse time into single crystallized moments then explode outward to take in the scope of human history. In Time, we see an intertwining of war and love, coffee and bombs, empathetic observation and emphatic detail taken from both memory and the present of the poem to weave a tapestry of experience in non-linear time.

Arabicity reflects on four decades of the aesthetic, conceptual, and socio-political concerns of contemporary Arab artists. Beautifully produced, it features over 200 artworks by more than 35 Arab artists including Bahia Shehab, Ayman Baalbaki, Hassan Hajjaj, and Raeda Saadeh, who explore their cultural heritage, and themes such as memory, destruction, and conflict, with great warmth, humour and visual poetry. Whether through video art, painting, photography or installation, these artists challenge the confines of their identity, resist stereotyping, and reshape the parameters of their cultural traditions. In their diverse media and subject matter, their works reflect the pulse of the region. In chaos they discover what endures.

The fourth volume in PAJ’s Performance Ideas series, The Sun on the Tongue unfolds in an expanding universe of philosophical reflections on love, art, war, nature, and human existence. Etel Adnan, the internationally renowned Arab American writer and visual artist, crosses genres and continents and centuries in her literary texts, plays, poems, and art. Her plays At A Certain Hour of the Night, Crime of Honor and Tolerance are featured here, along with essays on Pina Bausch and Paul Klee, and an interview on her life and work. Her texts have been performed or adapted for theatre, opera, and radio in the U.S. and Europe. Robert Wilson invited her to write the French section of his multi-country opera, the CIVIL warS: a tree is best measured when it is down, in 1984.

Archetypal Figurations of Displacement and Fragility Influenced by her experiences of war and migration, Simone Fattal has transcended the boundaries of both media and geography like few other artists of her generation. In her collages, she combines pieces from her private archive with historical events in the Arab world. Made up of individual parts and reassembled, these works suggest the fragility of an identity shaped by migration. Her more abstract ceramic sculptures reference ancient myths and archaeological finds. Fattal’s first solo exhibition in Germany is accompanied by the artist’s first comprehensive monograph, which combines essays by long-time companions with new scholarly contributions by international authors.