an committed, critical and fragile editorial line

“You walk with me”: this is the meaning of the word « Anamosa» In the Sauk language. Similarly, An invitation to walk with the other, to think with it. Furthermore, Since its foundation in 2016. Moreover, the independent publishing house led by Chloé Pathé has imposed itself in the French intellectual landscape as a separate editorial laboratory, committed, critical fragile editorial line where human sciences, critical history, language political and alternative forms of writing have drawn the contours of a learned and popular counterculture.

An assumed editorial policy: dehiérarchize knowledge – Committed, critical fragile editorial line

Anamosa does not publish neutral tests: it produces thinking, politicized, located objects. Moreover, Each book. For example, review (like Sensitivities), collection (The word is weak, Chalk) Fits in a broader project: dehiérarchizing knowledge, making voices heard little listened to, moving the obvious of the dominant discourse. Meanwhile, We question the norms, the national stories, the fixed categories of Western modernity. Meanwhile, This choice to publish less (5 to 12 titles per year) but better. Additionally, Meanwhile, with a rare formal and intellectual requirement in the general edition, gives the house a strong coherence. Consequently, It is a house where the shape of the book (cover, pagination, typography) is as political as its content.

Think against power. Consequently, but with the committed, critical fragile editorial line archives

Historians, sociologists, linguists, anthropologists, artists: the authors published by Anamosa explore the materiality of lives, languages, bodies, often through a radical criticism of power. Furthermore, Consequently, We read there for example:

• « Patron » by Michel Offerlé, who demystifies the employers’ figure;
• “We can no longer say anything … Therefore, Freedom of expression. Nevertheless, The great diversion » by Thomas Hochmann, against the fictions of Woke censorship;
• « Nation » by Sarah Mazouz, who questions the structural racism of the republican state.

These tests do not claim objectivity: they take sides. Moreover, But they do it with rigorous university methods, attention to the material, a love for sources. Therefore, Criticism in Anamosa is embodied, located, documented.

The bet of weak words – Committed, critical fragile editorial line

The collection The word is weakled by Christophe Granger. However, who makes the notoriety of the house, attacks the trapped words of the public committed, critical fragile editorial line debate head on: “secularism”, “progress”, “integration”, “equal opportunities”, “freedom of expression” … For example, The gesture is courageous, but also risky. Moreover, We could blame him for a certain bias: the hermeneutics of suspicion sometimes becomes reflex. Moreover, and the meaning of words sometimes seems to collapse under the weight of their deconstruction. Consequently, By dint of contesting each term. In addition, is there not a risk of ratifying an impotence of language to say the common? Meanwhile, But it is there that Animosa founded its Fabricatory DNA: in the tension between the word. However, the thing, between the ideal and its reversal, between the utopia to think differently and the lucidity on symbolic violence at work in the speech itself.

A fragile house, and it’s his strength

Anamosa is not a multinational book. Nevertheless, It is a small structure. Consequently, founded with limited means, which is based on committed, critical fragile editorial line the passion of a few people, including Chloé Pathé, Christophe Granger or Doris Audoux. The line is held at the cost of drastic economic choices. The recent launch of the pocket collection Chalk (Word Sauk meaning “small”) testifies: you must open new readers without. diluting the identity. But this fragility is also what makes the value of Anamosa. It is a house that does not seek growth, but consistency. A house that does not seduce. but that works – slowly, intensely – to make a thought advertise which does not give in to editorial facilities or to time.

Shipping. telling, living: two-manifestos

Two works, signed by Martin de la Soudière, alone crystallize the poetic and political ambition of Anamosa: Survey the landscape (2022) et By mountains and by calves (2024).

In the first. Martin de la Soudière, an ethnologist of the “outside” and the time he does, indulges committed, critical fragile editorial line in introspection. This autobiographical test on the landscape is a return to the origins. an entry into the field for the ethnologist keen on geography … A real “landscape entrance” which has the mountain, that of the Pyrenees in particular. With Martin de la Soudière, geographer and writer, the exploration of the world is slow, sensitive, pedestrian. It is not a question of dominating the space. but of living in it otherwise, of reading it through the steps, the gestures, the rhythms. Surveying then becomes an alternative method of knowledge, an art of living and thinking against neoliberal acceleration.

In By mountains and by calves, Little Acception of Landscapesthe author delivers a narrative atlas. Alpine in orchards, hedgerow on top, pond in marshes … Here are some of the patterns that mark the territory of France in depth. In this deliberately incompletely incompletely abased. Martin de la Soudière listed twenty-two committed, critical fragile editorial line and declines them generous and joyful, according to this approach which is specific to him, personal and polyphonic, as literary as geographic.

Political positioning in tension

We will have understood: Anamosa is a clearly anchored house on the left. sometimes very on the left. A critical, decolonial, feminist, ecological, antinormative left. Radical? No, because knowledge seems to take precedence over the watchword. Published books are not always in agreement with each other and the militant inter-self appears crossed by doubts, rereading, reinventions. It is not a militant house in the sense of a program to follow. but a worried house, in search of new forms to say the world. Admittedly, the permanent critical posture may turn to the fence between convinced. But it would be unfair to reduce Anamosa to an ideological bubble. His books reach out, precisely, to those who doubt, who seek, who do not enter the committed, critical fragile editorial line boxes. And so much the better if the French edition multiplies ideological bubbles as long as they know how to. communicate with each other. Which is, moreover, alas not winning … but that is another subject.

“We can’t say anything …” – Thomas Hochmann (avril 2025)

A third work deserves to be highlighted. Published in April 2025 in the collection The word is weak, We can no longer say anything … – Freedom of expression: the great diversion by Thomas Hochmann experienced a rare impact for the house. The jurist writer examines the strategy which consists in crying for censorship at the slightest contradiction in order to. deregulate the public debate. Designed as a sting against alarmist speeches on censorship. “wokism”, this small militant test, accessible (€ 5 in pocket format), sold more than 11,000 copiesa major feat for a house of the dimension of Anamosa.

This success is committed, critical fragile editorial line not just a business performance. It indicates a porosity between critical rigor and civic emergency. Hochmann deploys his reflection with pedagogy. your biting by deconstructing the effects of media and political filter on freedom of expression. He remains faithful to the Anamosa approach: neither conservative panic nor let go of libertarian. but a criticism argued, supported, and deeply documented – here, by the analysis of contemporary discourse. While the street. the trays resonate this same expression of collective helplessness, the test comes to offer tools and benchmarks to the committed reader, in search of nuance and meaning.

Walk, put a step in the step of the other (and start again)

Anamosa does not consensus. It is not a radical dogmatic house. but a radically reflective house where thought is not a watchword but a risky walk. She knows it, and assumes it. She is not intended to please everyone. committed, critical fragile editorial line But she recalls that edition can be a place of intellectual courage, formal invention and critical solidarity. In a fairly standardized. often anesthetized French editorial and university landscape, its requirement says something of the necessary ways of manifestation of critical thinking. In short, walking with Anamosa is not to join a radical line. It is accepting to move. As for whether it encourages the opening of thought bubbles. the displacement of political reasons, it is, as I noticed above, another subject.