No place (Hull): no date (1971). Photo-illustrated poster, with lettering in orange, printed offset on pale cream paper stock. 46x29cm. Near Fine. Genesis P-Orridge’s first COUM publicity poster, illustrated with a studio photo of himself as a young schoolboy propping up a massive tuba. A row of six smaller b/w photographs appear below, each one featuring a member of COUM, including one of P-Orridge as an adult. From left to right they show Tim Poston, Spydeee Gasmantell (Ian Evetts), P-Orridge, Haydn Nobb (Robb), Jonji (John) Smith, and Brook (Tony Menzies), with the name captions intentionally incorrect. One of..... More about Yes Coum Are Fab and Kinky
COUM, SPRINKLE & SUCK
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A double-sided song sheet, printed in black on pale green paper stock. 25x20.4cm. Illustrated with six images of teddy bears, one of them with its head replaced by the tip of an ejaculating penis. Prints the lyrics to a COUM song by Genesis P-Orridge, beginning: “My teddybare hot water bottle/ it’s everso good/ My teddybare hot water bottle/ I’d fuck it if only I could”, and ending: “My teddybare hot water bottle/ he’s in love with me/ My teddybare hot water bottle/ I call him baby Timothy” (a reference to COUM member Tim Poston). Two old..... More about My Teddybare Hot Water Bottle (it’s everso good), 1971
An unused sticker, printed in red on a black ground (there was also a variant in green on black). 4.4x9.6cm. Early logo designed by Genesis P-Orridge and used for publicity and for soliciting bookings. Illustration of a limp penis formed out of the word ‘COUM’ and the slogan ‘Your Local Dirty Banned’. Near Fine. More about Coum Your Local Dirty Banned, c. 1972
A double-sided publicity flyer designed to solicit bookings, 1972. White paper stock. 25.4x20.3cm. One side illustrated with a collage by Genesis P-Orridge, printed in green. The other side, printed in black, lists various genres and titles of works, headed by P-Orridge’s statement: “Coum decompositions involve at least all of the following or any combination thereof being evolved to suit each situation and each set of references they meet. Coumpletely independent projects can be accepted as coumissions on request based on multiple skills.” Near Fine. More about Coum Transmissions
A flyer announcing the premiere of a work commissioned by the Yorkshire Arts Association and performed at the Hull Arts Centre, July 2nd, 1972. 30x21cm. Printed in blue on white paper stock. Designed by Genesis P-Orridge. In his book “Wreckers of Civilisation”, Simon Ford describes the work as “the first of COUM’s multi-media ‘happenings’ utilising techniques for all the senses, from flashing lights for the eyes to taped noises for the ears.” The COUM house at 8-9 Prince Street in Hull also became known as the Alien Brain during this period. Slight creasing to corners, esp..... More about World Premiere of The Alien Brain
A sheet of printed stationery for the pseudo-school of art concocted sometime in 1972 or 1973 by Genesis P-Orridge, Robin Klassnik and Opal L. Nations. 4to. Printed in black on white paper, with illustration to upper part, probably by Opal L. Nations. A lengthy list of the school’s directors printed along the lower edge includes the names Anna Banana, Hermine Demoriane, Dorothée Selz, Jeff Nuttall and David Mayor. The spurious concept was part of P-Orridge’s then-current interest in Infantilism, also seen in his “My Teddybare Hot Water Bottle” song. Other pseudo-institutions dreamt up by him included ‘Fluxarse Void’..... More about L’Ecole De L’Art Infantile
Printed recto and verso in black on white card stock. 14x9cm. Near Fine. Early editions, printed circa 1971/72, featured a blank verso; this later variant, featuring a text and a small illustration on the verso, was handed out during COUM’s ‘Ministry of Antisocial Insecurity’ action at the Ferens Gallery in Hull on January 6th, 1973 (this was the centrepiece of COUM’s involvement with the Fanfare for Europe festival, for which Cosey Fanni Tutti was given the name ‘Miss Gateway to Europe’ by mail artist Michael Scott). Recto prints Cosmosis artwork by Genesis P-Orridge, who named Christine Newby..... More about Cosmosis card
An original poster announcing an event organised by COUM as part of Fanfare for Europe, a festival arranged by Hull City Council in celebration of the UK’s accession to the European Economic Community in January 1973. 57.8x41.4cm. Printed in purple on pale green paper. Designer not stated (probably Genesis P-Orridge). Illustrated with a photo-collage featuring numerous images of Churchill with fake attributions, among them Genius P-Orridge (sic), Cosey, Ray Johnson, Robert Filliou, M. Scott, Shirley Cameron, and Anna Banana. COUM contributed to a group show and performed under the name of The Winston Spencer Churchill (Supergroup)..... More about Winston Spencer Churchill - an evening of the unexpected presented by: Yorkshire Artists...
Printed in black on white card stock. 6x9.2cm. Prints the words “1st COUM”, the Piccadilly address of the Arts Council, COUM’s Martello Street address in Hackney, and the name Genesis P-Orridge, to which, with an assumed grandeur, he has added the post-nominal letters, PhD. Invariably short of finance, P-Orridge was constantly applying to the Arts Council for grants on behalf of COUM, and they were awarded their first (worth £100) in May 1972, allowing them to acquire a secondhand van to transport their equipment, and in April 1973 they were awarded an ‘Experimental Arts’ grant worth..... More about Genesis P-Orridge’s business card, stating “from The Arts Council of Great Britain”, c. 1973
An original flyer announcing a COUM production “coumissioned and coumceived for the wonderful Oval House Theatre” in Kennington, London, March 1974. Printed in black on white paper stock, recto only. 29.6x21cm. Designed by Genesis P-Orridge. The performance was the first COUM action to involve nudity, and it incorporated a section featuring Cosey Fanni Tutti as a ‘glamour’ model being photographed by a lecherous snapper, played by Foxtrot Echo. Another photographer, Peter Christopherson, introduced himself to COUM during their lunch in the theatre’s cafeteria and asked if he could take photographs of the show that evening. They immediately dubbed..... More about COUMing of Age
Ed. Anna Banana. 4to. Stapled wrps., 68pp. Illustrated, including altered advertisements taken from LIFE magazine. The third issue of VILE, a magazine founded by Anna Banana in response to “FILE Magazine’s growing disdain for mail-art.” Loosely inserted is a holograph letter from her written on Banana Productions stationery to Joy Publications (publishers of Suck), dated November 20th, 1976, in which she refers to the drawing printed on page 5 of a naked woman attempting to perform post-mortem coitus with a hanged man (a notorious image originally found by Suck editor Bill Levy in a Paris bookshop). She continues..... More about VILE Vol. 3, no. 1 (San Francisco, CA: Banana Productions, December 1975
Original invite card to the opening party for COUM’s Prostitution retrospective at the Institute of Contemporary Arts, October 18th, 1976, a notorious event that saw the simultaneous (though gradual) termination of COUM Transmissions and the emergence of Throbbing Gristle. 13.4x10cm. Printed in black on white card stock, with ‘Unsolicited Pornography’ rubber stamp to lower right corner of verso. Illustrated with one of the images displayed in the exhibition, a photograph of Cosey Fanni Tutti reclining on couch in corset and stockings, wearing shades (the image is used to head an article from Curious magazine). Verso lists..... More about Sexual Transgressions No. 5
London: Black Dog Publishing, 1999. First edition. Large 8vo. Wrps., (336pp.). Foreword by Jon Savage. Photo-illustrated throughout. Taking its title from Tory MP Nicholas Fairbairn’s outburst (headlined in The Daily Mail, October 19th, 1976), Ford’s history provides a detailed narrative of COUM’s history, beginning with its conception in Hull in 1969, the landmark ‘Prostitution’ show at the ICA that provoked Fairbairn’s diatribe, and its metamorphosis into Throbbing Gristle and their eventual split in 1981 (ironically, thirteen years before the ICA show, Fairbairn had acted successfully as defence counsel in a case that challenged Britain’s nudity laws following Ken..... More about Wreckers of Civilisation: The Story of Coum Transmissions & Throbbing Gristle
Sm. 4to. 80pp. (incl. cover). Magazine format printed on newsprint paper. Photo-illustrated throughout. Design by Willem de Ridder. Billed as “The first sex magazine you can share with him, the first sex magazine you can take home to her…”. Contents include reprinted articles from Love, Finger and other Leblovic-published magazines, as well as Annie Sprinkle’s “Whore-o-scope” (w. drawing by Elsa del Puerto) and the story of how Ellen Steinberg became Annie Sprinkle (4pp.). Newsprint slightly age-toned; slight top right corner curl; o/w Very Good. More about The Ladies Room #1 - America’s First Reader-Written Sex Magazine by Women (no place: no...
4to. Stapled semi-gloss self-wrps., 16pp. B/w photographs and illustrations throughout. Ed. Annie Sprinkle. Design by Willem de Ridder. One of 1000 numbered copies. Fourth issue stated, though it’s not clear if there actually were three preceding issues. Includes contributions from Marco Vassi; Niko Tong; John Reilly; Charles Gatewood; Spider Webb; Günter Brus; the editor; and others. Lower edge slightly rippled, o/w Near Fine. Duplicated foolscap press release written by Maximillian R. Leblovic laid in (edges age-toned and old central horizontal fold). Leblovic (aka Maximillian Lobkowicz/Mickey Lebkowicz) and Susan Block were the publishers of Love..... More about The Sprinkle Report - The Newsletter Devoted to Piss Art Vol. 1, #4 (NYC: ‘The Filangieri...
NY: nd. (c. 1982). Magazine format. Unpaginated (64pp.), newsprint. Photo-illustrated throughout. Designed by Willem de Ridder. Almost the entire publication (a special issue of Love magazine) devoted to ‘artholes’, a collaboration between Annie Sprinkle (later the founder of The Union Labia - Sex Positive Feminists and PPSS - Pornographers Promoting Safer Sex), and the writer, actress, prostitutes’ rights activist (and later the head of the world’s first cross-dressing academy), Veronica Vera, who first met in the late 1970s. Features autobiographical texts, descriptions of sex acts, and numerous photographs (incl. by Charles Gatewood and Joel-Peter Witkin + several by..... More about Love Magazine 83: The Sprinkle Salon Post Art Art in America
Amsterdam: self-published, August 1982. 8pp. booklet. Cover portrait of Annie Sprinkle/Ellen Steinberg by Peter Pontiac. Inside front cover prints cartoon/collage by Sprinkle. The precursor to Sprinkle’s series of newsletters, containing news of her life with Willem de Ridder; visits from Fakir Musafar (aka performance artist and modern primitive, Roland Loomis), and Mistress Antoinette and Master Zorro; getting tattooed by Spider Webb; an account of her career activities to date; and her frustration at “dealing with sexist theater owners… magazine editors with rotten taste, brainwashed preconditioned porn fans, and film directors that are scared shitless to try something new…..... More about Newsletter
NY: Radio Art Publications, nd. (1983). First edition. 32mo. Stapled wrps., unpaginated (60pp.). Printed on semi-gloss paper. Design by Willem de Ridder. One of 1000 numbered copies. In her introduction to the book, Sprinkle thanks her co-author, Veronica Vera, who “did it, like me, for love and for the advancement of Women For Pornography (W.F.P.).” Consists of 26 short, whimsical texts related to a sexual activity or an erotic object, each one illustrated by a photograph on the opposing page, most of them featuring Annie Sprinkle. Near Fine. More about Annie Sprinkles ABC Study of Sexual Lust and Deviations
No place: self-published, no date (c. 1984). First edition. 32mo. Self-wrps., (8pp.), side-stapled. A small, illustrated booklet, with front cover printing Sprinkle’s quote, “Pornography is fifty years behind art and writing”, an altered appropriation of Brion Gysin’s remark from 1959 that “Writing is fifty years behind painting.” Contains four cut-up texts by Sprinkle: the first uses personal sex ads.; the second and third use “Pornography Cut Up With Old Fashioned French Onion Soup Recipe”; and the fourth uses “Section 4 of Andrea Dwarkin’s [sic] Anti-Pornography Civil Rights Law cut up with a paragraph from SCREW magazine.”..... More about Euphoric Scream. Cut-ups by A.S
No place: self-published, nd. (c. 1985). Artist’s book. Oblong 32mo. Cream textured paper wrappers printed in black, saddle stitched. 3opp. Printed on different coloured papers, one of them with a serrated fore-edge. Illustrated, with stickers and glitter added; translucent sealed plastic bag stapled to last page containing hair, an old ticket and two green sequins. Blank page SIGNED in green ink by Annie Sprinkle (embellished with a bright red lipstick print). The text prints a fictional story of how Ellen Steinberg, an art teacher “who didn’t like her name ‘Ellen’ very much” and “was from the..... More about Mirror Image
No date (c. mid-1980s). Very Good. Together with: i) Annie Sprinkle’s Bazoombas Vol. 1, #1 (North Hollywood: Red Lion Publications, April 1985). Glossy one-shot magazine, photo-illustrated in colour and b/w throughout. Unpaginated (44pp.). Cover design by Annie Sprinkle. Contents include “More Post Art Art From The Sprinkle Salon… made possible with a grant from the Put A Porn Star Through College Foundation”, and “Scrapbook: Photos from my personal life”, including photographs of Sprinkle by Charles Gatewood and Fakir Musafar. Short top right corner crease to front cover, o/w Very Good plus; ii) Adam Vol..... More about An original 10x8 b/w publicity photograph, signed on the verso
i) 2 promotional leaflets + 2 photocopied reviews (Village Voice and NY Times) for The Prometheus Project, a group play featuring Annie Sprinkle conceived and directed by Richard Schechner about nuclear destruction, pornography and sexual violence, at the Performing Garage, NYC, December 1985 + circular letter from Annie Sprinkle (December 1985), printed on back of photocopy of ‘Photo Funnies with Annie Sprinkle’ from National Lampoon. ii) 2 postcards of photos by Annie Sprinkle - “Live Sex, Not dead Sex!” (Amsterdam: Galerie Torch, 1987) + “Michelle’s Teddy”, tattoo design by Spider Webb and art direction by Les Barany (New..... More about A group of press, publicity and promotional items from exhibitions and performances by Annie...
No place: self-published, nd. (c. 1986). 3 oblong sheets, stapled and folded to make 6 pages, including cover. Two illustrations, including drawing of a naked yogini in Garland Pose. Small scribble to first panel, with offsetting to edges, o/w Very Good. More about You Can Heal Your Sex Life. A 13 Step Program by Annie Sprinkle
Np: The Sprinkle Salon and R. Mutt Press, 1987. First edition. 32mo. Design by Les Barany. Booklet folded accordion style, with 4 panels illustrated with simple line drawings depicting 16 life stages of the author’s breasts, from infancy, pubescence, prostitution, modelling work, experiments with bondage, breast feeding, through to middle and old age, decay and eventual death, beginning and ending with two simple dots. One of 1000 numbered copies. Near Fine. More about The Annie Sprinkle Story by Annie Sprinkle
(NY): Sprinkle Salon, 1987. Poster. Offset, 87x40.7cm. Design by Les Barany, with photography by Les Barany/Annie Sprinkle. Illustrated with a series of 18 b/w photographs, below which a text by Sprinkle explains how she conceived the idea and of how one Halloween, painted silver and with her breasts welded together with rubber cement, she went to a party as a “mono-tit Martian.” She describes in the text how her ‘Bosom Ballet’ was first recorded on video in 1980 and aired on Midnight Blue, a New York City cable television show, after which she did the Ballet..... More about Annie Sprinkle’s Bosom Ballet
i) Publicity card for an early production of Sprinkle’s “One Woman Show and Tell”, directed by Emilio Cubeiro at Dominique’s Harmony Burlesque Theater, NYC, June 1989, “Featuring Annie’s Greatest Performance Hits” (Cubeiro was the co-founder of The International Theatre of Poetry and Pain with Lydia Lunch). Illustrated on one side with Sprinkle’s Flashing Finger Puppet card. Stamped and postmarked New York May 30th, 1989 (though there is no addressee). The card suggests “Bring your own camera - all forms of exploitation are welcome”. Short lower left corner crease, o/w Very Good. ii) a photocopy of a 2pp. article..... More about A group of items relating to “Post Porn Modernist”, a one-woman show written and performed by...
Amsterdam: Torch Books, 1991. First edition. 4to. Glossy colour photographic wrps., with cover photo by Eric Kroll. perfect bound. 128pp. Designed by Willem de Ridder, who also provides an introduction in which he describes his first meeting with Sprinkle, how they “decide to become wife and husband” (though they didn’t marry), and the many projects that follow. SIGNED and inscribed by Sprinkle to William Levy on the first leaf: “Bill - I never thought I’d be signing a book for you!?! I love you Annie Sprinkle Keep it up ↑.” Sprinkle’s memoir of her life and..... More about Annie Sprinkle. Post Porn Modernist
An exceptional collection of Suck material, including a complete set of the magazine, the Suck Manifesto by Heathcote Williams, posters from the two Wet Dream Film Festivals organised by the publication’s editors, and various other items of scarce printed ephemera. i) Suck #1-8 (London: BCM/Joy, September 1969 & Amsterdam: Joy Publications, March 1970 - June 1974), all published, including first and second printings of Suck #6 (the second printing was revised, with minor changes, and printed on semi-gloss paper in a slightly reduced format). Newspaper format, each 16pp.-32pp. Profusely illustrated in colour and b/w. Edited by William Levy..... More about SUCK #1-8 + Suck Special Issue - THE VIRGIN SPERM DANCER: An Ecstatic Journey + WET DREAMS -...
Each measures 13x10cm. Versos ungummed. Both stickers reproduce a drawing from “L’Art Erotique” by American sexologists Drs. Eberhard and Phyllis Kronhausen, published by Artistes de Paris in 1969, an advert for which appeared in the second issue of Suck. A giant poster reproducing the same design adorned a wall in the Suck editorial office in Amsterdam. Near Fine. More about A pair of Suck stickers in two different colourways
i) S.E.L.F. (Sexual, Egalitarian & Libertarian Fraternity) membership card, unused. Black ink on pink card. Folded twice, as issued. Measures 11.7x21.8cm. unfolded. The card also acted as a pass for the festival, which quickly sold out. S.E.L.F. was created by the editors of Suck as a means to arrange the erotic film festival (membership, which was limited to 300, was seen as a way to provide legal cover against potential police intervention). ii) S.E.L.F. Statement. Mimeographed sheet of pink paper. Prints the statement of the aims of S.E.L.F. (“Tenderness, mutual respect, freedom and tolerance - these are all words..... More about A group of printed documents from the 1st Wet Dream Film Festival, the world’s first erotic...
i) S.E.L.F. membership card, unused. Red ink on pink card. Folded twice, as issued. Measures 11.6x21cm. unfolded. Plus another copy, unfolded. ii) Poster announcing the 2nd WDFF. Not dated (c. Spring 1971). Printed offset in purple on salmon-coloured paper. 38.5x30cm. “2nd Int. Porno Film Festival in Amsterdam this October. 6000 Yankee Dollars Prize Money for best films” + quotes from reviews of 1st WDFF and list of winners. Two copies. iii) Information poster for 2nd WDFF, with S.E.L.F. application coupon (printed in the first printing of Suck #6). Illustrated by Thomas Bayrle. Printed offset in purple and blue..... More about A group of printed documents and a rare brooch from the 2nd Wet Dream Film Festival, organised by...
Not dated (c. Spring 1971). Printed offset in purple on salmon-coloured paper. 38.5x30cm. “2nd Int. Porno Film Festival in Amsterdam this October. 6000 Yankee Dollars Prize Money for best films” + quotes from reviews of 1st WDFF and list of winners. Near Fine. More about A poster announcing the 2nd Wet Dream Film Festival
Suck information poster, printing subscription prices and mail order coupon (1972). Offset. B/w. 58.3x41.5cm. Illustrated with magazine front covers and photograph of a nude “Suck editorial meeting” (William Levy, Willem de Ridder, Marjolein Kuysten, Maria Hazenberg and Jim Haynes). Published in the seventh issue of Suck and later in the second printing of the sixth issue. Folded in three for mailing, as issued. Fine. More about Sodomy Correspondence from Joy Publications
The letter informs Hornick (a participant in Carolee Schneemann’s ‘Happening’ at the Dialectics of Liberation in London in 1967) that there will be no third Wet Dream Film Festival, but possibly a theatre festival on a boat where “everyone will be required to perform to orgasm… alone or in groups, their choice!... I hope you can come!”. Old central vertical and horizontal mailing folds; old ringhole punches to left edge, reinforced to verso; o/w Very Good. More about A TLS on Suck stationery from William Levy to Neil Hornick, dated October 11th, 1972 (96 words
Offset on glossy paper stock. B/w. 38x27cm. Illustrated with a photograph of ‘Ginger Gordon’ (Anna Beeke). Fine. More about An original publicity poster for “The Virgin Sperm Dancer”, reproducing the title page from...
Suck information poster (1974). Published as the centrefold in Suck #8 (June 1974), and produced separately as a poster, as here. Offset on glossy paper stock. B/w. 43x60cm. Provides a capsule history of Suck, illustrations of its issues and publications and synopses of their contents. Near Fine. More about Suck Turns Flesh Into Words
i) SCREW #38 (NY: Milky Way Productions, November 24th, 1969). Tabloid newspaper format. 32pp. Ed. Al Goldstein. Prints a half-page review by Michael Perkins of the first issue of Suck: “Suck is a winner”. Also: film review of ‘Futz’; ii) SCREW #99 (NY: Milky Way Productions, January 25th, 1970). Tabloid newspaper format. 36pp. Includes a 3pp. review of the first Wet Dream Film Festival by the paper’s editor and jury member, Al Goldstein. Photo-illustrated, incl. Otto Muehl with goose on stage. Also: Goldstein in Amsterdam. Folded. Very Good; iii) OZ #26 (London: OZ Publications Ink Ltd...... More about A group of eleven underground magazines and sex newspapers featuring news, articles, reviews and...
London: MacGibbon & Kee Ltd., 1970. First edition. Maroon paper covered boards. 354pp. Jim Haynes’s copy, with his ownership signature to front free endpaper. Author’s photograph to rear dustwrapper flap by Pete Sanders (Sanders was incorrectly credited in Suck #7 for the controversial nude photograph of her that led to the excoriating letter of resignation she sent to Haynes). Much of Greer’s best-selling book was written in her downstairs studio at the Pheasantry in Chelsea, as well as at the British Library, and the article she wrote for the Cunt power issue of Oz..... More about The Female Eunuch
Paris: Jean Lafitte Editions in association with Joy Publishing, Amsterdam, 1974. First edition. 4to. Staplebound wrps,. 148pp. Cover illustration by Willem. One of c. 900 copies duplicated by Haynes for distribution “primarily to our contributors and friends” (copies were also sold on the streets of Paris by him). This copy has been SIGNED and inscribed by Jim Haynes to former Suck/Joy Publishing co-founders Bill Levy and Susan Janssen: “For Bill and Susan - I hope you both find much in this you like… With best regards, Love, Jim”, dated by him “15 VII ‘74”. The book..... More about Hello, I Love You!
Paris: Jean Lafitte Editions in association with Joy Publishing, Amsterdam, 1974. First edition. 4to. Staplebound wrps,. 148pp. Another copy, lacking the upper wrapper, but SIGNED, inscribed and dated by Haynes to Felix Dennis on the title page: “Felix - I hope you like this thing. Love, Jim 2 IX ‘74 Paris”. Condition overall Very Good (lack of front cover notwithstanding). More about Hello, I Love You!
Paris: Jean Lafitte Editions, 1974. First edition thus. 8vo. Printed wrps., perfect bound. 232pp. Cover illustration by Willem. Wrappers somewhat used, as usual, o/w Good plus. More about Hello, I Love You! Orchestrated by Jim Haynes and Jeanne Pasle-Green
Paris: Almonde-Editions, 1975. Second edition (French version by Françoise Montagné). 8vo. Wrps., 197pp. + index. Cover illustration by Willem. Cover quotes (in French) from Gershon Legman, Germaine Greer and Suzanne Brøgger, and book review reprinted from Time Out to back cover. Very Good plus. Together with: Jim Haynes’s Newsletter No. 12 (Paris: September 1975), in which he announces the recently established “printing and publishing venture - The Almonde Press”. Single duplicated quarto sheet, printed recto and verso. Good only. More about Hello, Je T’Aime! Un choeur de voix mises par écrit par Jeanne Pasle-Green et Jim Haynes
Paris: Almonde, 1976. New edition. 8vo. Printed pink wrps., 187pp. + index. Cover illustration by Willem. Spine panel and top left corner of upper wrapper sunned, o/w Near Fine. More about Hello, I Love You! A Collection of Voices Orchestrated by Jeanne Pasle-Green and Jim Haynes
Linden: Volksverlag GmbH, 1979. First German edition. 8vo. Colour photo-illustrated wrps., 266pp. Very Good plus. More about Hallo, Ich Liebe Dich! Eine Sammlung von Stimmen inszeniert von Jeanne Pasle-Green und Jim Haynes
NY: Delacorte Press, 1976. First English-language edition (first published in Denmark in 1973). 8vo. 298pp. SIGNED and inscribed by the author on the title page: “For William [Levy] from Suzanne with love. Knudstrup, Dec. 1976”. Brøgger’s first book, in which she describes monogamy as “legalized cannibalism”, ‘transvestites’ as “guerrillas of the war between the sexes”, and, in one chapter, recounts her experience of rape in Uzbekistan, a version of which she mentions had been published in Suck “in the conviction that rape can’t be a private matter… [and] because no commercial paper would print a rape..... More about Deliver Us From Love. A Radical Feminist Speaks Out
The typescript comprises 215 quarto-size duplicated sheets, printed rectos only, and bears some resemblance to the final book (published by Faber in 1984), but provides a far more detailed autobiographical account of Haynes’s life and work. Divided into ten lettered sections, the first part deals with his childhood and reads more as notes towards a first chapter but, as with everything that follows, gives a far higher degree of detail than the finished book (the section's final four pages, for example, prints a transcript from his Cassette Gazette 1 of “An interview I made with my Grandmother Haynes..... More about Thanks for Coming! Author’s duplicated typescript of an early draft, with substantial...