Lucy Sante had enough reasons to feel like an outsider. Born in Belgium, the one child of conservative Catholic working-class parents who transplanted their little family to the United States without ever entirely settling here, she only really felt at home when she moved to New York City in the early 70's, a feral moment in which she found her people among a band of fellow bohemians picking their way through the wreckage. Some of her friends would die young, to drugs and AIDS, and some would become jarringly famous. Lucy flirted with both fates, on her way to building an estimable career as a writer. But in the deepest sense, she still felt like an outsider, her life a performance. She was presenting a façade, even to herself. Sante's memoir braids together two threads of personal narrative, the arc of her life, and her recent step by step transition to a place of inner and outer alignment. A marvel of grace and empathy, I HEARD HER CALL MY NAME parses with great sensitivity many issues that touch our lives deeply, having to do with gender identity and far beyond.

Seven Rooms brings together highlights from Hotel, a magazine for new approaches to fiction, non-fiction & poetry which, since its inception in 2016, provided a space for experimental reflection on literature's status as art & cultural mediator. Co-published by Tenement Press and Prototype, this anthology captures, refracts, and reflects a vital moment in independent publishing in the UK, and is built on the shared values of openness, collaboration, and total creative freedom.

Lucy Sante had enough reasons to feel like an outsider. Born in Belgium, the one child of conservative Catholic working-class parents who transplanted their little family to the United States without ever entirely settling here, she only really felt at home when she moved to New York City in the early 70's, a feral moment in which she found her people among a band of fellow bohemians picking their way through the wreckage. Some of her friends would die young, to drugs and AIDS, and some would become jarringly famous. Lucy flirted with both fates, on her way to building an estimable career as a writer. But in the deepest sense, she still felt like an outsider, her life a performance. She was presenting a façade, even to herself. Sante's memoir braids together two threads of personal narrative, the arc of her life, and her recent step by step transition to a place of inner and outer alignment. It is a story with many twists and turns: however necessary and long overdue her embrace of womanhood was, it was nonetheless a fearful business, filled with pitfalls and pratfalls. Sante brings a loving irony to her account of her unsteady first steps; there was much she found she still needed to learn about being a woman after some 60 years cloaked in a man's identity, in a man's world. She had switched teams, and she had found herself, widening the aperture of her heart in the bargain. A marvel of grace and empathy, I HEARD HER CALL MY NAME parses with great sensitivity many issues that touch our lives deeply, having to do with gender identity and far beyond. Like all great books, it is a wisdom book, and a gift to seekers of all denominations.

"A cacophonous poem of democracy and greed, like the streets of New York themselves." --John Vernon, Los Angeles Times Book Review

Luc Sante's Low Life is a portrait of America's greatest city, the riotous and anarchic breeding ground of modernity. This is not the familiar saga of mansions, avenues, and robber barons, but the messy, turbulent, often murderous story of the city's slums; the teeming streets--scene of innumerable cons and crimes whose cramped and overcrowded housing is still a prominent feature of the cityscape.

Low Life voyages through Manhattan from four different directions. Part One examines the actual topography of Manhattan from 1840 to 1919; Part Two, the era's opportunities for vice and entertainment--theaters and saloons, opium and cocaine dens, gambling and prostitution; Part Three investigates the forces of law and order which did and didn't work to contain the illegalities; Part Four counterposes the city's tides of revolt and idealism against the city as it actually was.

Low Life provides an arresting and entertaining view of what New York was actually like in its salad days. But it's more than simpy a book about New York. It's one of the most provocative books about urban life ever written--an evocation of the mythology of the quintessential modern metropplois, which has much to say not only about New York's past but about the present and future of all cities.

The first comprehensive, posthumous monograph and retrospective on Bernd and Hilla Becher, best known for their photographs of industrial structures in Europe and North America For more than five decades, Bernd (1931-2007) and Hilla (1934-2015) Becher collaborated on photographs of industrial architecture in Germany, France, Belgium, Holland, Great Britain, and the United States. This sweeping monograph features the Bechers' quintessential pictures, which present water towers, gas tanks, blast furnaces, and more as sculptural objects. Beyond the Bechers' iconic Typologies, the book includes Bernd's early drawings, Hilla's independent photographs, and excerpts from their notes, sketchbooks, and journals. The book's authors offer new insights into the development of the artists' process, their work's conceptual underpinnings, the photographers' relationship to deindustrialization, and the artists' legacy. An essay by award-winning cultural historian Lucy Sante and an interview with Max Becher, the artists' son, make this volume an unrivaled look into the Bechers' art, life, and career. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (July 11-October 30, 2022) San Francisco Museum of Modern Art (December 17, 2022-April 2, 2023)