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Disillusioned former high school sweethearts must come to terms with their past and present in the face of a tragedy.

It’s 2008: the age of the blog, the dawn of social media, and the birth of the smartphone. Obama is running for president on a slogan of hope, while in the shadows, an opioid crisis emerges, and the housing market teeters. Stevie and Sam, two old high school flames who have grown up and grown apart, are brought back together in the aftermath of a tragedy that throws them off the tracks of their lives. Sam, a struggling realtor, is determined to solve a mystery at any cost. Stevie hits on a plan for a “redo” that involves abandoning her adult life to relive her teenage glory days. As both struggle inside the mediocrity of their early adulthoods, the disenchanted world begins to reveal itself, and secrets threaten to overwhelm them. On the cusp of a new era of uncertainty, these old friends must find ways to reconcile their past and find their way home.

“Here Lies” preceded by “The Indian Culture” collects two of Antonin Artaud’s foremost poetic works from the last period of his life. He wrote both works soon after his release from the psychiatric hospital of Rodez and his return to Paris, and they were published during the flurry of intensive activity and protests against his work’s censorship. The Indian Culture is the first and most ambitious work of Artaud’s last period. It deals with his travels in Mexico in 1936 where Artaud sets aside his usual preoccupations with peyote and the Tarahumara people’s sorcerers to directly anatomize his obsessions with gods, corporeality, and sexuality. Here Lies is Artaud’s final declaration of autonomy for his own body from its birth to its imminent death, won at the cost of multiple battles against the infiltrating powers amassed to steal that birth and death away from him. Both works demonstrate Artaud’s final poetry as a unique amalgam of delicate linguistic invention and ferociously obscene invective.
 
“Here Lies” preceded by “The Indian Culture” was translated by the award-winning translator Clayton Eshleman, widely seen as the preeminent translator into English of Artaud’s work, with its profound intensity and multiply nuanced language. For the first time since its first publication, this bilingual edition presents the two works in one volume, as Artaud originally intended. This edition also features a contextual afterword by Stephen Barber as well as new material, previously untranslated into English.