Slaughterhouse-Five, an American classic, is one of the world’s great antiwar books. Centering on the infamous World War II firebombing of Dresden, the novel is the result of what Kurt Vonnegut described as a twenty-three-year struggle to write a book about what he had witnessed as an American prisoner of war. It combines historical fiction, science fiction, autobiography, and satire in an account of the life of Billy Pilgrim, a barber’s son turned draftee turned optometrist turned alien abductee. As Vonnegut had, Billy experiences the destruction of Dresden as a POW. Unlike Vonnegut, he experiences time travel, or coming “unstuck in time.” An instant bestseller, Slaughterhouse-Five made Kurt Vonnegut a cult hero in American literature, a reputation that only strengthened over time, despite his being banned and censored by some libraries and schools for content and language. But it was precisely those elements of Vonnegut’s writing—the political edginess, the genre-bending inventiveness, the frank violence, the transgressive wit—that have inspired generations of readers not just to look differently at the world around them but to find the confidence to say something about it. Fifty years after its initial publication at the height of the Vietnam War, Vonnegut's portrayal of political disillusionment, PTSD, and postwar anxiety feels as relevant, darkly humorous, and profoundly affecting as ever, an enduring beacon through our own era’s uncertainties.

Two graduate students must set aside their rivalry and journey to Hell to save their professor’s soul, perhaps at the cost of their own. Alice Law has only ever had one goal: to become one of the brightest minds in the field of Magick. She has sacrificed everything to make that a reality—her pride, her health, her love life, and most definitely her sanity. All to work with Professor Jacob Grimes at Cambridge, the greatest magician in the world—that is, until he dies in a magical accident that could possibly be her fault. Grimes is now in Hell, and she’s going in after him. Because his recommendation could hold her very future in his now incorporeal hands, and even death is not going to stop the pursuit of her dreams. Nor will the fact that her rival, Peter Murdoch, has come to the same conclusion.

The Analog Sea Review is an offline journal because it fits nicely in your pocket but won’t wake you up at night. The Analog Sea Review is an offline journal because it’s food for dreaming, and because our dreams will surely be the last frontier to be swept up and digitized. The Analog Sea Review is an offline journal because it’s made from trees, vegetable oils, and linen thread. It is produced as ecologically as possible but cannot compete with a data file. It has texture and smell, like a lover. And like a lover, it brings you stories and poems in the night. For the past few years, we’ve been asking artists, poets, and other writers what they see, what they feel and what they create when the machines are all sleeping and they find themselves back again amid that most valuable natural resource — time. The result is the first edition of The Analog Sea Review, featuring another stunning painting from Joseph-Antoine d’Ornano on the cover, and a careful selection of poetry, fiction, interviews, essays, and artwork. Analog Sea is delighted to announce the release of the inaugural edition of The Analog Sea Review. Featuring previously unpublished writing from Leonard Cohen, poetry by Mary Oliver, a philosophical treatise on leisure from German philosopher Byung-Chul Han, and interviews with award-winning filmmaker Patrick Shen, British novelist Jameela Siddiqi, and Koyaanisqatsi director Godfrey Reggio, it is perfectly suited to satiating one’s contemplative summer thirst. Analog Sea is a small community of writers and artists wishing to maintain contemplative life in the digital age. As an offline publisher, we distribute our high-quality printed books exclusively to select, independent physical bookstores throughout North America and Europe.

In the third edition of the award-winning literary journal The Analog Sea Review, offline publisher Analog Sea continues to explore what artists and writers create when the machines are all sleeping and they find themselves back again amid that most valuable natural resource—time. The third issue dives into topics of depth psychology, solitude, creative community, Glenn Gould and the idea of North, the cult of the image, and includes writing by May Sarton, Robert Macfarlane, Sophy Roberts, Barry Lopez, Rilke, Stefan Zweig, Virginia Woolf, C.G. Jung, among many others, as well as exclusive interviews with German filmmaker Wim Wenders and depth psychologist Wolfgang Giegerich.