Reading is both a virtue and duty. The editor invites authors she considers to be good readers. She agrees with Nabokov that a good reader, a major reader, an active and creative reader, is a re-reader. She knows her writers and they know her, even when they have not yet met. They have read each other, or believe themselves to have done so. They are flirtatious, ruffling pages. She likes those who do not hesitate to buy the books she publishes, but under certain circumstances will make excuses for those who do not. She promises to do her best. The best is reading.
MA BIBLIOTHÈQUE publishes four series:
The Good Reader, slim stapled bookstaking up themes of readiing/re-reading, in a signed and numbered editions, each of fifty copies and ten author's proof, sold at absurdly low prices. When they are gone, they're gone.
The Constellations, book-length essays and experimental fiction (there are other terms to describe this, art writing, for one, but let us say that the editor has been undertaking this for many years without calling it anything but her work. This is, perhaps, salutory). Forthcoming are books by Frank Wasser, Joseph Noonan-Ganley, Paul Clinton, Rachel Cattle, and Wiebke Leister.
One that has no name but includes anthologies, collected essays, artist's and writer's projects, at the editor's whim. It is, after all, her enterprise. Book covers, as some may have noticed (yes, the editor continues to resent two perjorative comments about this), are in varying attractive shades of pink.
The occasional modest pamphlet, probably a little pricey for what they are, but eminently affordable nonetheless.
Soon, soon, the books published by MA BIBLIOTHÈQUE will migrate here, a little bookshop. Other publications will remain where they are (a matter of history, I think).
New in the THE CONSTELLATIONS series
Rebecca La Marre, Love is the Language that Sex Speaks
There is a scene in Pier Paulo Pasolini’s Decameron in which a crowd mourns the death of a saint. The performance of their grief is guided by local religious custom. While they are transported into an encounter with the sublime, pick-pockets steal their wallets. This image is a point of departure for this book, its text gathered by recording whatever thoughts were of enough substance to be noted. Much of the material is of uncertain authorship, derived from overheard conversations, the utterances of others, and passages from books, articles, films, and images. Over four years La Marre collected phrases as if physical material, assembling an argument for what a secular approach to grieving may look like.
‘Through this accumulation of fleeting thoughts, given by the simple act of daily writing a body that can feel love and pain, Rebecca La Marre attempts to “imagine a positive encounter” with various others—positive in the sense of both the vague promise of happiness and the ethically indifferent electric charge of relating.’ Hannah Black
44 pages, 170 mm x 105 mm
Format: Paperback. 2018
Fabienne Bideaud & Sharon Kivland, Our Libraries / Nos Bibliothèques
Introduction by Christine Finizio
CAVEAT LECTOR: In French and English, but bilingualism is not essential
‘Our Libraries / Nos Bibliothèques invite à découvrir une correspondance estivale de trente jours environ entre Fabienne Bideaud et Sharon Kivland dévoilant avec humour leurs références personnelles, des livres issus de bibliothèques de maisons dans lesquelles elles vivent, travaillent, dorment, de façon permanente ou temporaire. Quelques figures apparaissent en même temps que des regards tournés vers l’île ou le jardin. Et notamment celles de Carla Lonzi, Bertrand Belin, Witold Gombrowicz, Jacques Rancière, Donna Haraway, Virginia Woolf, telle une Histoire de l’oeil ou histoire de la lecture.’ Arlène Berceliot Courtin
‘Caveat emptor, or reader beware—this bewitching epistolary exchange between two reading writers who read each other’s reading and writing, in idle, active, and otherly preoccupied moments of cooking or working or coping, these beguiling letters will lead you to reading or buying one book after another; the time of reading this book is that of reading its readings, of thinking about the when of a reading as well as the what. This is the very best kind of fun, taking your time with grace and a kind of peaceful intensity.’ Adrian Rifkin
76 pages, 170 mm x 105 mm
Format: Paperback, 2018
Aude Anquetil, A CASA MIA
'C’était une période où tout était difficile : plus d’argent, plus de travail, trop d’hommes et d’excès pour compenser. Je suis rentrée dans le restaurant, j’ai mangé une melanzane alla parmigiana, et j’ai laissé mon numéro de téléphone, punaisé sur le tableau en liège.'
J’ai lu ce livre d’une traite, avec un plaisir immense et le sentiment d’avoir attendu « ça ». Les anglophones diraient que c’est un page-turner. Sauf qu’une fois terminé, je savais que j’allais y revenir, à la Casa Mia, à la pensée de derrière.
Aude Anquetil écrit de chez les belles comme Virgine Despentes écrit de chez les moches, avec la même audace : celle de penser, en tant que femme et avec le même esprit, son travail alimentaire de serveuse, la littérature, l’art contemporain, des concepts philosophiques, la séduction, et l’espace d’un restaurant. Comme chez Chris Kraus, l’expérience est incarnée et sans hiérarchisation.
« Il y a trois personnages : Moi écrivain, Moi Pascal, Moi restaurant » et il est jouissif de les suivre, non seulement parce que l’écriture est fluide, généreuse, et rythmée de véritables pépites d’observation et de subtilité, mais aussi parce que ce que l’auteure exploreet ce qu’elle en dit est résolument nouveau. C’est une des expressions possibles d’un féminisme qui n’a plus à se battre pour conquérir l’accès à une réalité qui se pense, mais qui peut s’inventer un espace cognitif, une intelligence-virus qui va où elle veut.
170 mm x 105 mm, 60 mm cover flaps
In French/En français
£9.00/ EUR 10
New in The Good Reader series
Derek Beaulieu, L’Echec de Perec
L’Echec de Perec offers a playful visual translation of Georges Perec’s Alphabets (1976), transforming each oulipian poem into a glyph which resembles chessboards and crossword puzzles. Perec’s compositional structure becomes the framework for a new way of writing, treating language as brickwork.
28 pages. Edition of 50, each signed & numbered, 190 mm x 130 mm
Format: Sewn, 2018
Penny McCarthy, La Biblioteca de Babel
In his short story, Pierre Menard, Author of the Quixote, Jorge Luis Borges achieved a re-creation of the Cervantes text without actually re-creating Cervantes’s life. Instead, he decided that the best route was ‘continuing to be Pierre Menard and coming to the Quixote through the experiences of Pierre Menard’. Following Borges, we know that the same words read differently from a different pen, and that each reader is, as much as he, a literary creator. Penny McCarthy interprets La Biblioteca de Babel by transcribing sections from her own printed copy of the book alongside Borges’s first draft. So exquisite is his insect-like handwriting, with its black crossings-out and peculiar typographical symbols, its repeating visual rhythms, that in some way his script ceases to be text, instead becoming its own image. Meaning is always an on-going process for Borges, concerned less with making than making over. This version of La Biblioteca de Babel is presented alive to its intentions and potential for appropriation. Meticulous copying intentionally erases the boundaries between McCarthy’s version and the original Borges: we cannot know for certain who wrote what.
28 pages and inserted index card, Edition of 50, each signed & numbered, 190 mm x 130 mm
Format: Sewn, 2018
Rona Lorimer, Livre, Livret, Liver
One day a group of girls are on the street in Paris. With Marx, Freud, Lacan, and the Cops watching over them they become entangled in an argument about desire and money with a young Marxist, which leads to another of their continuing arrests.
Edition of 50, each signed & numbered, 190 mm x 130 mm
Format: Sewn, 2018