Printed and bound in an edition of 500 by Aaron Flint Jamison and Emily Johnson at Yale Union on the occasion of TOM TIT TOT, October 5-December 6, 2013, curated by Andrea Anderson and Robert Snowden. Typeset in Times New Roman by Susan Howe. Cover typeset in Caslon by Emily Johnson and Scott Ponik.

Apart from her poetry, Susan Howe is the author of two landmark books of literary criticism, My Emily Dickinson and The Birth-mark: Unsettling the Wilderness in American Literary History, and three records with David Grubbs.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Stephen Willats’ exhibition World Without Objects at Annie Gentils Gallery, Antwerp 13 October–30 November, 2013.

*Please note this publication is secondhand and has some traces of previous ownership.

The first instalment of The Social Life of the Record, a series of original texts by musicians, fans, critics, collectors, dealers, label owners etc.—reflecting on recording, releasing, listening to, filing, flipping and DJing records today.

Addressing questions parallel to those asked by Paraguay Press’s established The Social Life of the Book, Everybody Knows This Is Nowhere plays off its format and inaugurates the new series The Social Life of the Record. It is published as a component of the exhibition of the same name held at castillo/corrales December 2012–January 2013, and extends the project’s triangulation of the identity of New Zealand art and music. London-based artist Paul Elliman evokes relationships between sound and geography; Philadelphia label owner Tom Lax chronicles his involvement with New Zealand music as a fan from afar; New Zealand critic Jon Bywater reflects on vinyl records as a means to ‘physical thinking’; and french collectors Jedrzej Zagorski, François-Xavier Hubert, Sandra Reignoux, Jean-Louis Cayron and Fred Paquet contribute photographs of some of their New Zealand possessions; crossing Hans Christian Andersen with Wilkie Collins.

The fifth in The Social Life of the Book series, Paraguay Press’s collection of commissioned texts dealing with books, and how they engage with the circulation of ideas and the agency of social situations. Die Toilette is an assemblage of text fragments taken from different books by LA-based writer Chris Kraus, conceived and annotated by artists and writers Jon Bywater, Louise Menzies and Marnie Slater. By reading through Kraus’s texts looking for traces of New Zealand, where she grew up, the three Kiwis question the representation of the distant; how it is embodied by characters, situations, language, and in the writing/reading dynamics Kraus creates. The beach, affection and love relationships, the role of the city, intense relations with wildlife–all this and more is at stake in this amazing cut-up.

Designed by Will Holder.

Artist Avigail Moss’s pamphlet is the fourth in The Social Life of the Book series, Paraguay Press’s collection of commissioned texts dealing with books, and how they engage with the circulation of ideas and the agency of social situations. Moss examines Marianne Wex’s Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures, a book of photographs tied to second-wave feminism in Germany during the 1970s and the larger international movement at the time.

Designed by Will Holder.

Daan van Golden Photo Book(s) reproduces the photo pages of Van Golden’s earlier books (most of which have long been out of print), as well as two little known photo essays, in their entirety.

The reproduction of preexisting material, the insistent adherence to a set of core elements, gestures and images, the conviction that creating different juxtapositions and interactions between those same elements yields new readings and meaning: these are the hallmark of van Golden’s work, and here for the first time they serve as the organising principle for a book, one whose patient rhythm creates the space for the logic of a practice to establish its sensible presence.