Fiction
Ernesto
Contributor
AlfredALFRED was born in Grenoble, France in 1976. He launched with a few friends the publishing house Ciel Esther, where he has published several books. Alfred later formed the duo Crumble Club with author Olivier Ka; storytellers and musicians, the two perform and publish children's books and comics together. Their comic Why I Killed Peter has been translated into English by N.B.M. He currently lives in Venice, Italy. For more information, visit his blog.
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The Rail's Best Books of 2017
Joseph Salvatore, Books EditorDEC 17-JAN 18 | Books
Selections from our Books Editor
The Aesthetics of Silence: New Books by Ilya Kaminsky & Donna Stonecipher
by Kristina Marie DarlingMAY 2019 | Books
In a 2007 essay, Chris P. Miller asserts that “silence is a chronology, a beginning collapsed into the end.” For Miller, silence manifests as the first—and truest—form of compression, a charged and dense rhetorical space in which even time folds in on itself. Susan Sontag describes this remarkable compression not as a destructive force, but rather, as transcendence, a sure sign of language sublimating into dream, insight, and artistic vision. Approached with these ideas in mind, the gaps between words, lines, stanzas, and prose paragraphs becomes charged with possibility, a liminal space in which the rules governing speech no longer hold.
Blurred Library: Essays on Artists’ Books
by Megan N. LibertyJUNE 2017 | Art Books
How do we enter a book? How do we move around in it and travel between its pages, chapters, and various corners and openings? These are some of the questions Tate Shaw asks in his collection, Blurred Library: Essays on Artists’ Books.
Lee Lozano Private Books 1-3
by Madeline WeisburgFEB 2018 | Art Books
“Rebellion?” Lee Lozano asks in one of her late 1960s journals. “Ce-rebellion! Cerebellion.” The note, an offhand entry jotted out in ballpoint pen, seems a fitting way to describe the artist’s particular brand of artistic defiance, synthesizing as it does the tone, form, and ideology of her now-legendary conceptual practice, which manifested itself as a series of private acts of refusal.
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