Deadpan, epic, and searingly charismatic, A Sand Book is at once relatable and out-of-this-world. In poems tracking climate change, bystanderism, state murder, sexual trauma, shopping, ghosting, love, and the transcendent shock of prophecy, A Sand Book chronicles new dimensions of consciousness for our strange and desperate times.\nWhat does the destruction of our soil have to do with the weather in the human soul? From sand in the gizzards of birds to the iridescence on the surface of spilt oil, from sand storms on Mars to our internet-addicted present, from the desertifying mountains of Haiti to natural disasters and state violence, A Sand Book is both a travelogue and a book of mourning.

Sand Book

Reines, Ariana

Penguin

Coeur de Lion is a love poem.    "To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive (by the limitless expansion of the ego, by emotive submersion) and impoverished (by the codes on which love diminishes and levels it).  {....}  To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other); to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not-- this is the beginning of writing."   -Roland Barthes, A Lover's Discourse. VIntage, 2002. Translation copyright Farrar, Straus and Giroux, Inc., 1978.

Coeur De Lion (French Edition)

Literature & Fiction

Poetry

mal-o-mar

The first major monograph devoted to the witty paintings and sculpture of Los Angeles–based artist Friedrich Kunath. From his precipitous rise in the late 1990s and early 2000s, Friedrich Kunath has been making art that beautifully and lyrically combines the experience of the ordinary with the sublime. In the first major monograph devoted to the past fifteen years of his work, the reader sees how the artist poignantly yet playfully distills the fundamentals of human emotion—desire, loneliness, and anxiety—creating comically tragic scenes in which human beings try to find their way in the world. Shifting easily between genres and modes of making—from painting to installation and even video—the work always maintains his signature wit and humor, laced with melancholy. The artist has considered the ideas that run throughout his oeuvre and offers new insights by gathering works across media that are connected conceptually in eight chapters, organized thematically rather than chronologically. Art historian James Elkins takes an historical approach to Kunath’s work, linking him to both recent and older traditions of European painting. Ariana Reines contributes a poem inspired by the artist’s work and James Frey writes a short essay inspired by Kunath’s persona. The artist and John McEnroe, the famed tennis player, have a spirited conversation about their shared passion for the game of tennis.

Friedrich Kunath: I Don't Worry Anymore

Arts & Photography

Elkins, James

Kunath, Friedrich

Individual Artists

Rizzoli Electa

Ryan McGinley, one of the most important photographers of his generation, asks his friends and colleagues to take the camera into their own hands. Following instructions given to them by the artist, a group of individuals explore their own image. Ryan McGinley, since the earliest days of his unparalleled career, has chronicled his friends and cohorts. Whether on the now legendary annual road trips he has organized with a large coterie of twentysomethings documenting summertime exploits or documenting the early gritty years in downtown New York, McGinley is known as the consummate storyteller about freedom and abandon of youth. A few years ago, however, he wanted to challenge his creative habits and asked more than one hundred of his friends and colleagues--guided by detailed instructions and a camera given to them by the artist--to take nude self-portraits using mirrors and other props. Though related to the ubiquitous selfie, the participants didn't have the benefit of seeing the image before they clicked the shutter. Furthermore, McGinley would make the selection of the final image to represent the photo session. The experiment yielded scores of intimate and psychologically revealing photos that--even though not done by his own hand--bear some signature McGinley flourishes in their emotional depth and resonance.

Ryan McGinley: Mirror Mirror

McGinley, Ryan

Humor & Entertainment

This text is filthy and fertilized, filling and emptying, filling and emptying, atrocious and politic with meaning. The Cow is a mother, a lover, and a murdered lump of meat, rendered in the strongest of languages. "I cannot count the altering that happens in the very large rooms that are the guts of her."

The Cow

Literary

Fence Books

Seattle-born, Paris-based artist Oscar Tuazon (born 1975) works in the overlap between architecture and sculpture. His succinct structures evoke the raw armature of buildings, using the conventional construction materials of concrete, steel and wooden beams to outline areas that viewers are invited to move through. In this way, Tuazon’s works--at once forceful and subtle, monumental and discreet--allow his audience to experience everyday space as extraordinarily arbitrary in its divisions and enclosures. Die documents the production of Tuazon’s 2011 site-specific installation for the inaugural exhibition at The Power Station, a new venue for contemporary art in Dallas, Texas. For this installation, Tuazon produced two works, “Die” and “Dead Wrong.” These works are recorded in black-and-white and color photographs, as well as through sketches and plans. An essay by Kim West, a poem by Ariana Reines and a text by Tuazon meditate on the broader implications of Tuazon’s work.

Oscar Tuazon: Die

West, Kim

Tuazon, Oscar

The Power Station

Fiction. Drama. "There are phone lines to the living and others for calling the dead. TELEPHONE by Ariana Reines is a network for riveting acts of speech, and silence, and listening. I saw the play and never forgot it. The audience was lit like a switchboard by its storms of courage and mystical love."--Rachel Kushner "TELEPHONE is an uncanny parcel of theater in which the wishes of humans to speak with the dead meet the limits or the aspirations of technology. A woman wrapped in language is deemed insane and the lonely pastness of our present walks around calling for itself. TELEPHONE is a whild and visionary piece of art that announced to me a poet who is always tearing the future open like a trapped animal--their eyes reflect us. Don't look! We mus. Bless you and love you Ariana for this great work."--Eileen Myles "I have been WAITING FOR THIS BOOK! When I saw it in the theater every word motion fell into magic stride utterly taxing the soul with its accuracy and mystery. The next night I was at the box office with a different friend and needed to return to my job is the only thing that kept me from the theater a third night. Examine for yourself the bewitching and sometimes misshapen communicative powers of life with the poetry goddess of the stage, Ariana Reines!-- CA Conrad "TELEPHONE, the inspired and utterly original new tone poem of a play, probes feelings with the sensitivity and detachment of a heart surgeon."--Ben Brantley, The New York Times

Telephone

Dramas & Plays

Wonder

The Origin of the World: Essays and Performance 2006–2023 (Semiotext(e) / Native Agents)

Essays & Correspondence

Semiotext[e]

This astonishing young poetstill in her twentiesis surely destined to be one of the crucial voices of her generation.”Michael Silverblatt, Bookworm
Composed in the direct, accessible, consciousness-piercing style readers of Ariana Reines’ first two books are wildly enamored of, Mercury comprises a group of long poems. These interlocking works speak to the substance and essence of what is said, transmitted, transacted, communicated” between persons. Reines proposes that substance and essence are opposites, and explores this in contexts including commercial cinema and internet porn.
Your music makes me feel lonely Your music makes me feel lonely Your music Makes me feel lonely Picking a lemon Late at night My heart tightens I fear nature Your music makes me feel lonely I must be responsible for it I’m alive I have this hair helmet on I’m so alive I say yes to the megaplex You say it’s awful isn’t it awful I say yeah So what. Something sentimental This place I agree Huge We’re gonna go into the movie . . . The day is long enough The day is long enough The day is so long enough To contain all this and more

Mercury

Now that I am not addressing you But the you” of poetry I am probably doing something horrible and destructive. But this I” is the I of poetry And it should be able to do more than I can do.
Just a few months after the publication of her prize-winning, instant classic debut The Cow, Ariana Reines self-published this stunning book-length poem, now a cult object among readers of truly contemporary poetry. Coeur de Lion is an intensely personal, monologic meditation on longing, sex, and love between a speaker and the object of all her passions, which include thinking and writing.

Coeur de Lion

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