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'Dear Miss Maxfield ... what I'm really afraid of is that I am a homosexual human being. I wish you were one too but I don't think it's possible there could be so many in one school, do you? - probably there is only one person who is homosexual in one place at one time and that one person (I am afraid) is me ...' After sixteen-year-old Lynn writes her thirty-seven-year-old English teacher a letter they embark on one of the funniest - and saddest - love affairs in fiction, shrouded in secrecy and guilt.

Growing up in rural France with Muslim faith, macho culture and homosexual desire, a young man is haunted by one thing: running away.

WAVE OF BLOOD is an experimental essay in the poetry of witness, a contemporary war notebook, extending through the US wars on terror that officially began in 2001.

A Toast to St Martiria is an improvised speech given by the cult Catalan filmmaker Albert Serra at the St Martiria fiesta in Banyoles, the town of his birth. Transmitting his subversive attitude and impulsive lust for life, it is a journey through his formative years and early relationships - established in the nightlife of his hometown - that have shaped his particular conception of cinema, art and life. ''Cinema should be this, making perception of time and space more intense.''

Ghislaine Leung articulates an art practice, a life, and the necessity to act within a system of limitations. As an artist how can you get out of the hiding position? Her blocks are taken as raw material. To make art is to understand how you are, notice your prejudices and assumptions about value and acknowledge your hand in an unequal world, to recognise how you institute yourself while letting go of the outcome of work. Value is often internalised and mistaken as a positive quality: why does one seek again and again to exploit oneself? Poetic and close up, to the child and to the world, there is proximity without distance. Embodied, deep, with many entry points for the reader, 'Bosses' is Leung's matrix of motherhood, authorship, self-employment, dependency, love and action.

Violence is arrayed against me because I'm Black, or female, or queer, or undocumented. There is no rescue team coming for us. With that knowledge, we need a different operational base to recreate the world. It is not going to be a celebrity savior. Never was, never will be. If you're in a religious tradition that is millennia-old, consider how the last savior went out. It was always going to be bloody. It was always going to be traumatic. But there's a beauty to facing the reality of our lives. Not our lives as they're broken apart, written about and then sold back to us in academic or celebrity discourse. But our lives as we understand them. The most important thing is showing up. Showing up and learning how to live by and with others, learning how to reinvent ourselves in this increasing wasteland. That's the good life. Foreword by Da'Shaun L. Harrison Afterword by Mumia Abu-Jamal

The story of failure asks one question only: What do people who lose do next? ''Let the best one win.'' War is one way. The other way is religion. Let me at the stakes. It''s so much a matter of patience. No fury, beyond all reason, no sequence broken, but diverted. Nothing seems to cooperate when you lose control. Blue becomes violet. Bend your head to the blank. The solution is so simple: don''t identify yourself with your description of yourself.

Never does the patient seem more ill than when they try to order associations into a logical tale. Classical analysis sees this in terms of a repudiation of sexuality: an attempt to avoid speaking from a place of desire. But why should psychoanalysis reduce everything to sex? If sex only ever achieves partial satisfactions, fragments of pleasure, its pursuit creates our subjectivity and our world. Disorganisation & Sex argues that the sexuality of psychoanalysis is not a reductive biologism, but an archaic remainder that cannot be colonised, endlessly disorienting meaning in our everyday lives. It is our proximity to this terrain that undoes our most tedious habits, and opens onto something revelatory.

Greek artist and activist Georgia Sagri chronicles the body''s recovery from the incarnated pressure imposed by neoliberalism. Bodies and senses are the public, creative processes of political action. Sagri writes case studies, political communiques and analysis to break down the dichotomy between what can be considered life and what can be considered resistance.