The originator of Spoken Word and performance poetry, John Giorno is one of the most influential figures in the world of contemporary performance. You Got to Burn to Shine, his first book in many years, collects intensely rhythmic, sexual and philosophical poetry spanning two decades. Here, too, are deeply personal memoirs, including the story of his friendship with Andy Warhol (Giorno had an occasionally sexual relationship with Warhol, met his mother, and starred in Warhol's first film, Sleep); an anonymous sexual encounter with Keith Haring, an aspiring painter who recognized Giorno in a subway station toilet; and notes toward a Buddhist understanding of death in the age of AIDS.

Associated with key 1960s avant garde figures such as Ginsberg, Burroughs, Rauschenberg, and Johns, John Giorno was an early pioneer of multimedia poetry through Giorno Poetry Systems, which also distributed a who’s who of the American underground from Patti Smith to Sonic Youth. Giorno’s use of transgressive material and in-your-face, amplified delivery was also a key influence on punk/new wave pioneers such as Suicide, Throbbing Gristle, and Black Flag. Not just a poet but a sexual, spiritual, and political radical, Giorno helped pioneer the open celebration of queer sexuality in poetry in the 1960s. Subduing Demons in America offers the best of Giorno’s revolutionary poetry, from his striking Pop Art–influenced poems of the 1960s to the psychedelic, echo-laden, multitracked cut-ups of the 1970s with their explosive configurations of queer sex, spiritual practice, and the bohemian Good Life. Also here are the pared-down punk/hip-hop performance poems that Giorno performed in the 1980s.

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A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination. On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

The Edizioni Conz of the Italian collector, publisher and photographer Francesco Conz–including portfolios, large silkscreen prints on fabrics and objects–are among the finest and most elaborate art editions of the second half of the 20th century. A friend and patron of Viennese Actionism, Fluxus, Concrete Poetry, and Lettrism, he was an obsessive, knowledgeable enthusiast open to all the arts, for whom hospitality, the magic of community, and respect for the arts were more important than any mercantile aspirations. This publication is the first comprehensive catalogue raisonné of the editions published by Conz between 1972 and 2009. Comprising more than 500 editions, it is both a reflection of his passions and a memorial to the art of the avant-gardes. Texts by contemporaries such as Alison Knowles, Dick Higgins, Milan Knižak, Eugen Gomringer, Emmett Williams, Nicholas Zurbrugg, and others complete the richly illustrated catalogue. FRANCESCO CONZ (1935–2010) grew up in a wealthy family of Austro-Hungarian descent in the Italian Veneto. After coming into contact with the art scene in Berlin and New York in the early 1970s, he traveled to art festivals around the world and invited artists to the Palazzo Baglioni in Asolo for happenings and per- formances. Since 2016, the Berlin-based Archivio Conz has been working to catalogue, research, and restore his extraordinary collection for the public, which includes more than 4,000 works and commissioned editions by over 300 international artists, as well as 30,000 photographs and ephemera.

The LGBT agenda for too long has been dominated by pragmatic issues like same-sex marriage and gays in the military. It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist. Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O’Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future. In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

Presents an alphabetical reference guide detailing the lives and works of poets associated with the New York Schools of the early twentieth century.

Australian Berko by Simon Drake Terror. Sydney. A Crime Wave. Someone to Blame. Set in the darker side of post-Olympics Sydney, Australian Berko is the humorous, fast paced, action exploits of Wayne Berko the joker, accidental murderer, media manifested serial killer, cop and drug-lord executor, and righteously innocent modern day outlaw. He battles with the underworld of Sydney in the name of saving his drug-screaming sister Marisa and plans a devilish master stroke for the Crime Conference on Monday, but is yet to encounter the nature of the chaos that has led him there—Those that live by the sword, may die by the sword.