Böcker utgivna av Soft Skull Press

"Chuck had ambitions. He doesn't know how he ended up as the creepy 43 year old guy with the drugs, or the guy who's too old to be at the party doing everyone else's drugs, but if it ain't broke ... Well, he manages to make it to work at the dwarf whale distributor every day. He may hate that his dearly seedy San Francisco has become overrun with Starbucks, startups, and Lululemon moms, but he makes due every month for the rent-controlled apartment he shares with roommates he never sees. It's not perfect, but it's livable. In the end, though, every addict has that one special vice that can tip them from relatively functional to completely unhinged. For Chuck, it's a new drug that doesn't even have a name yet; it's just a smokable, everlasting gobstopper of mellow high. But when chunks of time begin to disappear and rearrange themselves altogether, he wonders if this really is just another life-ruining drug, or if it's something straight out of a Philip K. Dick universe. Word on the street is that this little black marble is actually altering users' timelines, but that's impossible, right? That's just something the schizophrenic homeless guy on Guerrero screamed at customers outside Tartine, isn't it? Isn't it?!"--

“I love the pulse of Sam Pink’s sentences, the way they can hold the gorgeous and the grisly and the hilarious all at the same time. The Garbage Times/White Ibis thrilled me and messed me up, left me feeling a little dazed and a lot changed.” —Laura van den Berg, author of The Third Hotel and Find MeFrom the freezing alleys of Chicago to the dew-blanketed bayou of Florida. From bouncing drunks and cleaning up puke to biking through the swamp laughing at peacocks. Freeze to thaw. Filth and broken glass and black water backed up in showers; lizards and Girl Scouts and themed birthday parties. A baby rat freed from the bottom of a dumpster becomes a white ibis wandering the wet driveway after a storm. Goodbye, hello, goodbye. It was the garbage times; it was time for something else. A tale of two tales, connected by a mysterious sunlit portal.The edition is designed with tête-bêche binding as a single volume.

Richard Hell may best be known as a punk icon, a founding member of seminal bands Television, the Heartbreakers, and The Voidoids, but for decades he’s been a prominent voice in American letters. Through his novels Go Now and Godlike, and his critically acclaimed autobiography, I Dreamed I Was a Very Clean Tramp, Hell has proven himself as a talented and insightful writer across many genres, in many forms. But one might argue that Richard’s true genius lies in shorter form as a writer on culture. "Love comes in spurts," Hell once sang, and that could well describe the intensity of his penetrating and wickedly droll criticism.Massive Pissed Love is a collection of Hell’s ruminations on art, literature, and music, among other things, that’s like a candy box of reading treats, a bag of shiny marbles, a cabinet of mementos and uncanny fetishes. However one thinks of it, it’s a joy to read from start to finish and a deeply necessary addition to the oeuvre of one of the sharpest minds and sensibilities at work today.

Bold, beautiful and fierce-Dael Orlandersmith delivers a riveting story in Black n Blue Boys / Broken Men. This gritty play portrays five unforgettable male characters, linked by their efforts to forge identities in families fractured by abuse. Each relates a story that transforms these challenges into a celebration of our capacity to survive. Orlandersmith created this piece after working at a shelter for homeless youth in the 1980s, and her writing brings these characters roaring to life. At once powerful and heartbreakingly poetic, Black n Blue Boys/Broken Men will leave you breathless.

Should graffiti writers organize to tear up the cities, or should they really be bombing the 'burbs? That's the question posed by William Upski Wimsatt in his seminal foray into the world of hip-hop, rap, and street art, and the culture and politics that surround it.Taking on a broad range of topics, including suburban sprawl, racial identity, and youth activism, Wimsatt (a graffiti artist himself) uses a kaleidoscopic approach that combines stories, cartoons, interviews, disses, parodies, and original research to challenge the suburban mindset wherever it's found: suburbs and corporate headquarters, inner cities and housing projects, even in hip-hop itself. Funny, provocative, and painfully honest, Bomb the Suburbs encourages readers to expand their social boundaries and explore the vibrant, chaotic world that exists beyond their comfort zones.

"The CIA's Greatest Hits" details how the CIA: - hired top Nazi war criminals, shielded them from justice and learned--and used--their techniques- has been involved in assassinations, bombings, massacres, wars, death squads, drug trafficking, and rigged elections all over the world- tortures children as young as 13 and adults as old as 89, resulting in forced "confessions" to all sorts of imaginary crimes (an innocent Kuwaiti was tortured for months to make him keep repeating his initial lies, and a supposed al-Qaeda leader was waterboarded 187 times in a single month without producing a speck of useful information)- orchestrates the media--which one CIA deputy director liked to call "the mighty Wurlitzer"--and places its agents inside newspapers, magazines and book publishers- and much more. The CIA's crimes continue unabated, and unpunished. The day before General David Petraeus took over as the twentieth CIA director, federal prosecutors announced that they were dropping 99 investigations into the deaths of people in CIA custody, leaving just two active cases they're willing to pursue. The first edition of "The CIA's Greatest Hits" sold more than 38,000 copies. This fully revised and updated second edition contains six completely new chapters.

When Michael Muhammad Knight sets out to write the definitive biography of his “Anarcho-Sufi” hero and mentor, writer Peter Lamborn Wilson (aka Hakim Bey), he makes a startling discovery that changes everything. At the same time that he grows disillusioned with his idol, Knight finds that his own books have led to American Muslim youths making a countercultural idol of him, placing him on the same pedestal that he had given Wilson.In an attempt to forge his own path, Knight pledges himself to an Iranian Sufi order that Wilson had almost joined, attempts to write the Great American Queer Islamo-Futurist Novel, and even creates his own mosque in the wilderness of West Virginia. He also employs the “cut-up” writing method of Bey’s friend, the late William S. Burroughs, to the Qur’an, subjecting Islam’s holiest scripture to literary experimentation.William S. Burroughs vs. the Qur’an is the struggle of a hero-worshiper without heroes and the meeting of religious and artistic paths, the quest of a writer as spiritual seeker.

"With all the graphic adaptations of mythology flying around, it's about time someone got to old Gilgamesh . . . Winegarner's adaptation demonstrates the extensive debt mythology and religion owe this ancient tale." --BooklistBefore the Bible and legendary figures like Hercules, King Arthur, and Beowulf, there was Gilgamesh. As the king of Uruk, a city in ancient Mesopotamia, Gilgamesh protected his people from harm, battling a multitude of fierce demons with the steadfast help of his brother, Enkidu.But Gilgamesh's reign faced the ultimate challenge from the power-hungry goddess Ishtar, who proposed marriage only to be unceremoniously spurned by Gilgamesh. Ishtar's rage led Gilgamesh to his greatest battle, a battle that shook Gilgamesh to his core and led him to travel further than any other man-to the land of the gods on a quest to find immortality.Written down on cuneiform tablets nearly five thousand years ago, Gilgamesh's story was originally recorded in the form of an epic poem. In this bold retelling of the ancient legend-presented for the first time in graphic novel form-graphic novelist Andrew Winegarner revitalizes the ultimate adventure story. His illustrations breathe new life into the story of humanity's first hero, and the result is a page-turning take on the world's oldest epic poem.

"A fascinating scrapbook documenting a time in the life of a female musician . . . Tales of tours, blowouts, relationships with names such as The Cramps, Pantera, Ramones, Alice Cooper, Kyuss, Monster Magnet, Marilyn Manson, Coffin Joe and Danzig make this book essential as a time capsule of a certain era in the world of hard rock." —Uber RockArt rock? Noise rock? Punk-metal? Alternative? White Zombie may have been unclassifiable, but it didn't stop them from carving out a place for themselves in music history. The band became a multiplatinum, two-time Grammy nominee with the release of their 1992 album, La Sexorcisto. But while most people will remember their bizarre look and macabre lyrics, what many failed to realize was that their lanky, high-octane bass player was a woman.I'm In the Band combines eleven years of tour diaries, flyers, and personal photos and ephemera to chart White Zombie's rise from the gritty music scene of New York's Lower East Side in the eighties to arena headliners during the nineties. It also shares the unlikely story of a female musician who won the respect and adoration of male metal musicians and fans. From 1985 to 1996, Sean Yseult was the sole woman not only in White Zombie, but in the entire metal scene.With I'm In the Band, Yseult has created both a coffee table book and a striking visual memoir. Her personal memorabilia offers fans a unique vantage on the life of a mega-band during rock's last golden age.

As the gay mainstream prioritizes the attainment of straight privilege over all else, it drains queer identity of any meaning, relevance, or cultural value, writes Matt Bernstein Sycamore, aka Mattilda, editor of That's Revolting! . This timely collection shows what the new queer resistance looks like. Intended as a fistful of rocks to throw at the glass house of Gaylandia, the book challenges the commercialized, commodified, and hyperobjectified view of gay/queer identity projected by the mainstream (straight and gay) media by exploring queer struggles to transform gender, revolutionize sexuality, and build community/family outside of traditional models. Essays include “Dr. Laura, Sit on My Face,” “Gay Art Guerrillas,” “Legalized Sodomy Is Political Foreplay,” and “Queer Parents: An Oxymoron or Just Plain Moronic?”

This exhaustive study focuses on the New York filmmakers that coalesced around the radical manifesto espoused by downtown filmmaker Nick Zedd: "none shall emerge unscathed." Placing their work within the wider alternative film and downtown post-punk scenes, "Deathtripping" offers detailed analyses of the movement's films alongside interviews with the filmmakers and their collaborators, including Richard Kern, Nick Zedd, Tommy Turner, Beth B, Joe Coleman, and Lydia Lunch. Also discussed are seminal influences such as the Kuchar brothers, Jack Smith, and Andy Warhol as well as the history of underground and trash cinema.

J. Eric Miller grew up in a cabin in the woods of Colorado. That experience of silence, darkness, and depth is evident throughout the stories in this book. Typical is "Invisible Fish," in which a night clerk in a mall pet store tortures the animals at night. Dumbfounded, the storeowners bludgeon to death a chimpanzee, the only animal in the store they imagine is capable of such atrocities. An entry in the new series "Soft Skull ShortLit -- Pocket Books for a New World, " this book deals with the strange and often violent manifestations of desire with an eye to deconstructing and diffusing them. These are edgy short stories that explore the boundless human capacity for cruelty.

Although the stories and essays are diverse in subject and voice--and some explore tangential activities from tree eating to the historical and cultural significance of boulders--they all express certain approaches common to skateboarders everywhere.

For many performance poets, the simple act of writing down the words can kill a poem's spirit and energy. Not so with Daphne Gottlieb. In Why Things Burn, Gottlieb tackles sexuality, lesbian issues, rape, urban life, and a host of other topics with the same power of her live performances.