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Paul Buck
Indiscretions (& Nakedness)

Published by Vauxhall&Company, 2021
Series editors Catherine Petit & Paul Buck
196pp, 206 x 142mm
Numbered edition of 500
£15.00 GBP

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          Perhaps it was not something he knew. And leaving it, and then coming back to it, and at the edge of the writing, always having to write, as if his paradise hadn’t the ripeness to affirm itself. With one exception, and that was not what she said, my love, o my love, come with me, this way. That fragile moment, that absolute fall into what, all of a sudden, that moment, that fraction of the instant, that momentariness, falls into here, and here is the one thing to try to relate, to attempt, and yet these words would disappear when transforming the ways and the leaves on the memory. To turn all into the formulations of what is somehow an accident, an opening moment, opened, and where the room is reflected, the lid is inlaid with a memory, a falling through that which is removed, that which would play and be able to come back through the sides, through what ought to be, allowing us to ponder the obscure, the less than clear, the clarity that fights between thought and what would continue to work, to warm and comfort itself, to be the passion through which comes the notion, singing in its own language, something that would appear, disappear, as on the outside, as outside the image, no one there either from or there to. A fragmentary existence, a fraction of itself, what is best to be scuttled.

Paul Buck
from Marthe, Dear Marthe (Nakedness)






Translated by Paul Buck & Catherine Petit
Published by Vauxhall&Company, 2019
Softback, 80pp, 185 x 131 mm
ISBN 978-0-9928355-6-9
Apropos of Van Gogh, magic and spells: all the people who, for two months now, went to see the exhibition of his works at the Musée de l’Orangerie, are they really sure they remember everything they did and all that happened to them every evening of the months of February, March, April and May 1946? Was there not a certain evening when the atmosphere of the air and the streets became liquid, gelatinous, unstable, and when the light from the stars and the heavenly vault disappeared?
And Van Gogh who painted the café in Arles was not there. But I was in Rodez, which means, still on earth, while all the residents of Paris must have felt, for one night, very close to leaving it.
A new English language translation and the first time this essay has been available as a single publication.

Translated by Graham Fox
Published by Vauxhall&Company, 2017
Softback, 276pp, 206 x 142 mm
Printed on 100gsm Arcoprint Milk & 175gsm Colourplan Laid.
ISBN 978-0-9928355-3-8
£40.00 GBP
Originally published under the title
Éden, Éden, Éden
Éditions Gallimard, 1970
Copyright © Éditions Gallimard, 1970
This edition Copyright © Vauxhall&Company 2017
Translation copyright © Graham Fox, 1995 & 2017

Vauxhall&Company Series Editors Paul Buck & Catherine Petit
First published in France in 1970, immediately greeted by both furore and acclaim, today Eden, Eden, Eden is recognised as one of the major works of the last century.
This edition is a much-revised translation of the out of print English version originally published in 1995. It also includes new translations of the original prefaces by Michel Leiris, Roland Barthes and Philippe Sollers, plus a postface by Paul Buck.
"Brought forth in an egalitarian way, or almost, beings and things are offered here for nothing more than what they are in the strict reality of their physical presence, animated or not: humans, animals, clothes and other utensils thrown in a mêlée in a way close to panic, that evokes the myth of eden because it obviously has for stage a world without morals or hierarchy, where desire is the rule and nothing can be declared precious or repugnant.
An implicit poetry that is sometimes replaced by an explicit poetry: those moments when, above the magma only disturbed by the quest for fulfilment led by each protagonist, human words appear, all the more moving for they seem to emerge – as if by miracle – from a layer of existence in which all words have been abolished."
from the preface by Michel Leiris
"To stretch the powers of one single sentence to the material, divided teeming carried forth through an unrelenting drive. Organic and celestial mechanics, biological, chemical, physical, astronomic. “The natural science will later subsume the human science as the human science will subsume the natural science: There will be one science” (Marx). On the very first page of Eden, Eden, Eden, see that inconceivable theatre: flint, thorns, sweat, oil, barley, wheat, brain, flowers, ears of wheat, blood, saliva, excrement... See the golden space of matters and bodies, endlessly transmutable, rhythmic."
from the preface by Philippe Sollers
A hand-annotated limited edition by Pierre Guyotat is also available, priced at £350 GBP. Further details are available on request from Cabinet Gallery (


Published by Vauxhall&Company, 2016
Series editors Catherine Petit & Paul Buck
Softback, 74pp, 210 x 165 cm
Edition of 500
ISBN 978-0-9928355-2-1
£15.00 GBP
From his first books of the 1960s – such as Tomb for Five Hundred Thousand Soldiers and Eden, Eden, Eden – to his recent books such as Coma, 2006, Pierre Guyotat’s seminal work has deeply marked and transformed that of innumerable artists and writers in many countries beyond France itself. With its focus extending from his novels to his work in film, art and performance, this illuminating collection of seven texts – drawn from encounters and conversations with Pierre Guyotat over a period of close to thirty years – explores his driving preoccupations and experimentations, with corporeality and vision, conflict and warfare, sex and the entity of language, activism and revolution, hallucination and aberration.




translated by Paul Buck and Catherine Petit

Out of stock
translated by Paul Buck and Catherine Petit
Published by Vauxhall&Company, 2014
68pp. 245 x 310 mm
Edition of 150
ISBN: 978-0-9928355-0-7
This book, his last, broke more than twenty years of silence from Pierre Klossowski the writer. Its origin: a commission in 1992 for a play by a Viennese theatre. Fascinated since childhood by this mode of expression, Klossowski immediately saw the character Ogier from The Baphomet on stage and set to work once again at his writing desk.
However, time had enriched his imagination, and aided by the excitement of a dramaturgical finality, he reworked his novel intently.
The commission running aground, he transformed the scenario into a récit. From the succession of metamorphoses The Immortal Adolescent was born. Today it presents itself as undauntedly identical to its first model as totally different from it. Such is the game of the cycle of time.