Now back in stock: A collection of fabulous photographs by the foremost Surrealist artists.

Pablo Picasso’s endless fascination with his lover’s character and form led to radical shifts in his conception of portraiture and the mystical metamorphoses that the act of creation entails. Picasso’s secretive love affair with Marie-Therese Walter, which began in 1927, inspired a radical shift in his conception of portraiture. The exhibition and catalogue present Marie-Therese as a primary vehicle for his experimentation during the period, including several works never before seen in the United States as well as previously unpublished personal letters and photographs. Picasso and Marie-Therese sheds new light on the interpretation of one of the most creative relationships in Picasso’s rich and varied oeuvre.

'Who is Hakim Bey? I love him!' Timothy Leary'Exquisite...' Allen Ginsberg'Hard-line dada/surrealism' Rudy Rucker'A Blake angel on bad acid' Robert Anton Wilson'Scares the shit out of us' Church of the SubGeniusThe underground cult bestseller! Essays that redefine the psychogeographical nooks of autonomy. Recipes for poetic terror, anarcho -black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults -- this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture.This book offers inspired blasts of writing, from slogans to historical essays, on the need to insert revolutionary happiness into everyday life through poetic action, and celebrating the radical optimism present in outlaw cultures. It should appeal to alternative thinkers and punks everywhere, as it celebrates liberation, love and poetic living.The new edition contains the full text of Chaos: The Broadsheets of Ontological Anarchism, the complete communiques and flyers of the Association fo Ontological Anarchy, the long essay 'The Temporary Autonomous Zone,' and a new preface by the author.'A literary masterpiece...' Freedom'A linguistic romp...' Colin Wilson'Fascinating...' William Burroughs

Intimate love opens us up to suffering, sacrifice, and loss. Is it always worth the risk? Consulting philosophers, writers, and poets who draw insights from material life, Diane Enns shines a light on the limits of erotic love, exploring its paradoxes through personal and philosophical reflections. Situating experience at the center of her inquiry, Enns conducts philosophy "by another name," elaborating the ambiguities and risks of love with visceral clarity. Love in the Dark claims that intimacy must accept risk as long as love does not destroy the self. Erotic love inspires an inexplicable affirmation of another but can erode autonomy and vulnerability. There is a limit to love, and appreciating it requires a rethinking of love's liberal paradigms, which Enns traces back to the hostility toward the body and eros in Christianity and the Western philosophical tradition. Against a legacy of an abstract and sanitized love, Enns recasts erotic attachment as an event linked to conditional circumstances. The value of love lies in its intensity and depth, and its end does not negate love's truth or significance. Writing in a lyrical, genre-defying style, Enns delineates the paradoxes of love in its relations to lust, abuse, suffering, and grief to reach an account faithful to human experience.

A new work by the author of “In Defense of Witches” that seeks to redefine heterosexual relationships and give women back their voice. As feminist principles have taken wider hold in society, and basic ideas about equality for women can seem a given, many women still struggle in one of the most important areas of life: love. Whether it’s finding a partner, seeking a commitment from one, or struggling in a relationship that is unfulfilling or even potentially abusive, women still find that deeply-engrained notions of gender and behavior can be obstacles to a healthy, loving relationship. In her new book, acclaimed French feminist Mona Chollet tackles some of these long-held and pervasive ideas that remain stumbling blocks for many women in heterosexual relationships. Drawing from popular culture, politics, and literature, Reinventing Love provides a provocative, accessible look at how heterosexual relationships can improve and evolve under a feminist lens.

Mad Love has been acknowledged an undisputed classic of the surrealist movement since its first publication in France in 1937. Its adulation of love as both mystery and revelation places it in the most abiding of literary traditions, but its stormy history and technical difficulty have prevented it from being translated into English until now. "There has never been any forbidden fruit. Only temptation is divine," writes André Breton, leader of the surrealists in Paris in the 1920s and '30s. Mad Love is dedicated to defying "the widespread opinion that love wears out, like the diamond, in its own dust." Celebrating breton's own love and lover, the book unveils the marvelous in everyday encounters and the hidden depths of ordinary things.

In France in 1933, two sisters, presumed to be lovers, murdered the women who employed them as maids. Known as “the Papin affair,” the incident inspired not only Jean Genet's 1947 The Maids but also an essay by Jacques Lacan that presents the sisters' crime as fueled by a narcissistic, homosexual drive that culminated in the assault. In this new investigation of the roots of the twentieth-century myth of the lesbian-as-madwoman, Christine Coffman argues that the female psychotic was the privileged object of Lacan’s effort to derive a revolutionary theory of subjectivity from the study of mental illness. Examining Lacan's early writings, French surrealism, Djuna Barnes’ Nightwood, and H.D.’s homoerotic fiction in light of feminist and queer theory, Insane Passions argues that the psychotic woman that fascinates modernist writers returns with a murderous vengeance in a number of late twentieth-century films—including Basic Instinct, Sister My Sister, Single White Female, and Murderous Maids. Marking the limit of social acceptability, the “psychotic lesbian” repeatedly appears as the screen onto which the violence and madness of twentieth-century life are projected.