Dedicated to the value and the indispensable importance of the
individual voice, to testing the boundaries of thought and experience.
Contra Mundum Press is a New York based independent publishing house with a global outlook. Our principal interest is in Modernism and the principles developed by the Modernists, though we also publish challenging and visionary works from other eras.
Our catalog consists of poetry, fiction, drama, philosophy, film criticism and essays. In the future, we intend on expanding it to include works on architecture, music, & other genres. While we have published bilingual and multilingual books, in accordance with our global outlook, we intend on publishing works in languages other than English. Our free online magazine, Hyperion: On the Future of Aesthetics, is published biannually and features essays, translations, interviews and reviews.
The primary aim of Contra Mundum is to publish translations of writers who in their use of form and style are à rebours, or who deviate significantly from more programmatic and spurious forms
of experimentation. Such writing attests to the volatile nature of modernism. Our preference is for works that have not yet been translated into English, are out of print, or are poorly translated, for writers whose thinking and aesthetics are in opposition to timely or mainstream currents of thought, value systems, or moralities. We also reprint obscure and out-of-print works we consider significant but which have been forgotten, neglected, or overshadowed.
There are many works of fundamental significance to Weltliteratur (and Weltkultur) that still remain in relative oblivion, works that alter and disrupt standard circuits of thought — these warrant being encountered by the world at large. It is our aim to render them more visible.
Rainer J. Hanshe is a writer and the founder of Contra Mundum Press. Once, he was an assistant to photographer Nan Goldin, last working with her on The Devil’s Playground, her major exhibition at the Pompidou. For half a decade, he was the director of the Nietzsche Circle, an arts & philosophy organization based in New York. During that time, he established the journal Hyperion: On the Future of Aesthetics, which he co-edited with Mark Daniel Cohen from 2006–2011. Hanshe is the author of two novels, The Acolytes (2010) and The Abdication (2012), and the editor of Richard Foreman’s Plays with Films (2013). He has also written numerous essays on Nietzsche. His second novel, The Abdication, has been translated into Italian, Turkish (Aylak Adam: Zepelin), and Slovakian (Cloaca). Other texts of his have appeared in Sinn und Form, Jelenkor, ChrisMarker.org, Asymptote, Quarterly Conversation, and elsewhere. Hanshe is currently writing two novels, Humanimality and Now, Wonder.
Erika Mihálycsa is a lecturer in 20th-century and contemporary British literature at Babeș-Bolyai University Cluj, Romania. She has published mainly on the language poetics of James Joyce and Samuel Beckett and in the field of translation studies. Mihálycsa is the recipient of multiple research grants to the Zurich Joyce Foundation. A regular contributor to several Hungarian literary magazines, she has translated works by Flann O'Brien, Beckett, Julian Barnes, Anne Carson, william carlos williams, William H. Gass, Patrick MacCabe and others into Hungarian. To date, Mihálycsa’s translations of contemporary Hungarian prose and poetry into English have appeared in World Literature Today, B O D Y Magazine, and The Missing Slate.
Alessandro Segalini is a communication designer who specializes in typography. He studied and practiced graphic design and calligraphy in Milan, Helsinki, Philadelphia and Rome. He teaches typography at Texas State University and is the house typographer of Contra Mundum Press. In the summer of 2010, he co-founded ISType (Istanbul Type Seminars), a lecture and workshop series devoted to encouraging typographic literacy in Turkey. Segalini designed the typeface Hemingway, which was inspired by the novel The Old Man and the Sea. Segalini’s Hemingway typeface was selected for the UK Creative Review Type Annual 2011 within the “Display Text” category.