At Bortolami, Burr tugs on his objects as though stress-testing their suppleness. Burr spins out self-reflexive threads that he uses to stitch together fragments of autobiography, yielding the “Journal Works,” a series of bulletins coextensive with the intimate, perambulatory staging of his archives in the Torrington Project (2021–2024).

In Charlie Porter’s stunning debut novel Nova Scotia House, the author strips away any excess to closely examine the possibilities of queer love and joy amidst the ongoing AIDS crisis.

The site of the archive is where the state reifies its authority, where policy consolidates history, and, in the process, indexes a margin that is both inimical to the state’s goals and inseparable from its production of power.

Initially published in 2001, Joe Westmoreland’s first and only novel, Tramps Like Us, captures the rapidly transforming cultural landscape of the mid-seventies and eighties through protagonist Joe’s road adventures. The vinyls, clothes, books, and porn magazines that Joe accumulates and disposes of on his travels are more than just sumptuous details—they coalesce and pulsate, forming a web of charged memories that ensnare him and his social circle.