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Alan Mills: Hacking Coyote. Tricks for Digital Resistance

Cover – Alan Mills – Hacking CoyoteEssay on digital resistance, mixing Mayan knowledge, hacking theory and popular culture.

Out on 22 September 2016
ca. 170 pages on the smartphone
ISBN 978-3-944543-38-3

Available at:
Amazon (Germany) Amazon (UK) Amazon (USA) beam Google Play Hugendubel iTunes Kobo Thalia.

Public Performances:
30 October 2016: Workshop at Stadtsprachen Festival technologies of writing, Berlin
4 November 2016: Reading at Stadtsprachen Festival Poetry and Polyphony, with Binyavanga Wainaina, Rudolf Kollektiv and others, Berlin


Good-bye, rational culture! Let Guatemalan writer Alan Mills welcome you to the philosophy of tricksters. Follow him on a tour through indigenous mythology, classical education, and the literary canon, thoroughly mixed with hacking theory and with popular culture—from Star Wars and Breaking Bad to familiar figures like Bugs Bunny and El Zorro. Get to know Michael Jackson and David Bowie, Guy Fawkes and the Popol Vuh, the sacred book of the Maya-K’iche’, through this fulminant essay on old and new strategies for resisting superpowers. Mills currently lives in Berlin and Vienna, and Hacking Coyote is an expanded and elaborated version of his 2016 talk at Berlin’s biggest blogger convention, the re:publica TEN. If you don’t yet know that the fox and the coyote can be read as symbols for destructive but simultaneously liberating deeds, if you haven’t yet learned to see them as transcultural trickster-hipsters, reading this poetic, associative and witty panorama will open your eyes. Or, in the author’s own words: “This open-source codex seeks to unite the contemporary traffickers of information with the smoke signals of their totemic animal.“

“At times the author’s approach reminds me of Walter Benjamin’s essay on Surrealism, in which he not only explains and describes it but in which the linguistic presentation of the material itself carries a surrealist poeticalness that seems to lead in part to a non-rational knowledge.” (Eva Wißkirchen, comparaison d’etre)

“This hacking essay is punk.” (Tania Folaji, Elektro vs. Print)

“His chains of association are very daring in part … Like a conspiracy theorist. … The essay is a thoroughly spiritual text, which is written in religious imagery.” (Enno Park, Kompressor/Deutschlandradio Kultur)

We live in predatory times. We web users try to survive in the middle of a jungle, at times not so virtual, where hunters have intensified the stalking. Predators wearing the most varied cybernetic fur establish their monitoring circuits and extend their traps.
In both realms, the online world as well as in this outer space we call “reality”, it seems that the hunting ground of the most powerful has widened to a frenetic rhythm, inversely proportional to the reduction of not a few of our prerogatives as citizens.
Hunting plus virtual stockbreeding: we are read, mapped, monitored, reviewed, controlled, programmed, directed like numbered cattle that will go to the slaughterhouse when the time comes; we are herded like electrical sheep unable to perceive the presence of danger.
We are jumping inside a mental barn. At times it seems that we wear an electronic tag that prevents us from moving without supervision or without allowing our creativity, our cyber navigations and our searches to be milked by hungry economic and political powers.
Our private data, our content on social media, our moribund ability to get free access to information, our clicks, our virtual identities and, ultimately, the different interconnected regions of our lives, have been in recent years under the siege of mercenaries acting with military efficiency. Oriented towards a portentous profitability in dollars or euros, their huge jaws swallow our freedoms and our rights as if they were just a bunch of emoticons or small Pokémon.
Anyone can see that we wander blindly while we pick the most poisonous flowers in the garden of calamities. We have become the stuffed turkey of a dinner to which they pretend to have invited us. We thank them because we are getting polished like a cannon ball meant for a weapon pointing against ourselves.
We feel like we are selling ourselves down the raging river that flows into La Chingada. But something inside us whispers that not everything is lost yet. It’s getting down to the wire, folks, and yet we still have some small but vibrant hope, the cloud-figures in the sky indicate that a mischievous ancestral spirit wants to help us and hack the entangled network of this cyber war, the war for control of the Internet.
It’s not a bird, it’s not a plane, it’s the spirit of Coyote!
The spectral beast has sunk its claws into the World Wide Web and has been digging a system of tunnels between the parallel dimensions of reality, virtuality, fiction and myth, in order to dismantle—and at the same time, celebrate—the farce of a Cyberspace that in its best days could have become truly democratic. In these fateful moments an old master of knowledge has reappeared among us: one that is part animal, part human, a little like a ghost and, equally, a code that enlightens us, inspires us, guides us and advises us during this debacle. This mutant messenger offers its knowledge to address the distorted virtual mirror of a terrible material catastrophe.
Coyote wanders decoding, taunting, challenging the sinister cyber totalitarianism of our time, while simultaneously blowing into our faces, shamelessly enough, a gentle caress of smoke from his fine Cuban cigar.

The author

Alan_2015Alan Mills was born in Guatemala in 1979. In the past ten years, he has lived in Buenos Aires, São Paulo, Paris, Madrid and Leipzig, and has read at poetry festivals throughout Europe and Latin America. He has lived in Berlin since 2012, where he is writing a dissertation on contemporary Latin American literature, in particular indigenist science fiction. Published works include the books Marca de agua, Síncopes (also translated into French) and Pasan poesía en la televisión apagada and the e-books Eine Subkultur der Träume. Auf Twitter and Hacking Coyote: Tricks on Digital Resistance. He is on Twitter as @alan1000s. https://twitter.com/alan1000s

Patras Bwansi, Lydia Ziemke: My name is Bino Byansi Byakuleka. Double essay

Cover – Bwansi, Patras; Ziemke, Lydia – My name is Bino ByanThis double essay will completely change our thinking about immigrants: Patras Bwansi, a well-known activist for the rights of refugees in Germany, writes about asylum experience, Lydia Ziemke about the paradoxes of helping.

Out on 21 July 2015
About 140 pages on the smartphone
With 6 photos und some asylum documents from Patras Bwansi’s personal archive

ISBN 978-3-944543-25-3

Available at:
Amazon beam buecher.de Google Play Hugendubel iTunes Kobo Thalia ocelot Osiander and in bookshops.

Free download as ePub, mobi, PDF. Also available in German.


Could you imagine to be a refugee and be treated like a criminal? Not like a human being? How would you like to be welcomed? With Patras Bwansi you can relive this experience. He describes growing up in Uganda with school beatings, tells us about the constant bureaucratic supervision in the German “initial reception facilities”, colloquial also called “Lager”, as well as his personal outbreak into the protest, calling for humanitarian rights. That this will come only with a political and social rethinking, Lydia Ziemke shows in her text, which is inspired by her artistic work with refugees. If you want to read about Bwansi’s concise demands, you can download his manifesto in English for free as a PDF here. This publication in English was supported by the Rosa Luxemburg Foundation.

„Moreover, Lydia Ziemke reflects her own attempt to pave the way into German daily life for a young Moroccan in her excellent critical essay on the ‘paradoxes of helping’. She learns ‘lifelike’ what Hannah Arendt postulated in 1943 in her essay ‘We Refugees’ , namely that ‘human compassion can only take hold, when the refugees have been given legal justice’.“ (Elke Heinemann, FAZ)

„We must learn to see the stereotypes behind the term asylum seekers. The book is a good start for that.“ (Susanne Memarnia, taz)

„As I was reading, I felt as being forever held in a transit space, especially since the words of Bwansi’s essay have the power to illuminate like spotlights the emotional states that I, equipped with ID cards and tickets, usually not experience.“ (Tania Folaji, Elektro vs print)

„These two texts are to completely change our thinking on the subject, according to the publisher’s announcement, and although such grandiose announcements are rarely met, this time it’s true.“ (Kevin Junk, Fixpoetry)

„Who wants to have a say in the refugee debate should have read this.“ (Kerstin Scheuers Blog auf Twitter)

I had not expected that they would take my fingerprints before anything else, it was a very strange greeting. The doors opened around 1:30 pm, I went in and with the fingerprints they asked me a few quick questions immediately – my names, where I come from and why I was here. I did not want to talk much, I was so tired. I showed them my bag and said: “All of me: I’m here.” I had to fill in a form and then wait for further questions. After one hour they gave me 25 questions and I thought finally that was all I had to do, that now they would grant me asylum. But oh no – on the contrary, it was only my introduction to German bureaucracy!
Those people in Turmstrasse, they looked very tired of welcoming people, tired of those people altogether who stood in front of them full of hope. Their eyes and bodies said: “you black people, why do you keep coming here? We have so many other people we have to take care of, go somewhere else …” They were clearly making a distinction between the people who were listed on their papers as ‘eligible’ and me. There were many other people they called in before me and none of those were black. This hierarchy of refugees was also a strange surprise.
Finally they said I had no chance of getting asylum in Berlin, and instead they would help me to go to Bavaria, apparently it was easier there. But because it was the weekend, they first sent me to a lager in Berlin called Manchester that was full of Asi-an people. They told me not to move around outside, as the police would control me and then I would be finished. They put me in a room with a guy from Somalia who had been there three days. They thought we would get on as two Africans but unfortunately we had no language in common.

The authors

Patras Bwansi quadratischBino Byansi Byakuleka, formerly known as Patras Bwansi, born in 1979 in Kabale, Uganda is a Textile Artist who currently lives in Berlin. He was engaged in the Orthodox Church Uganda from a young age and gained a certificate in Counsel-ling/Trainign with the Focus on HIV and literacy. He studied Industrial Art and Design from the Buganda Royal Institute of Business and Technical Education Mengo in Kampala, Uganda. 2007 he accepted a scholarship to live and study Icono-graphy at the St. Arsenios Monastery and School of Creative Art Ormylia in Thessaloniki, Greece. In 2010 August he became a refugee in Germany and spent almost two years in the refugee camp in Breitenburg near Passau in Bavaria. In August 2012 he started a protest tent in Passau Klostergarten and in October he joined the refugee protest camp in Berlin-Kreuzberg at Oranienplatz. Since then he is a full time political activist to change the asylum system in Germany and for LGBTIQ rights. In 2013 he founded the African Refugees Union (ARU) and in 2014 the campaign “WE ARE BORN FREE! MY RIGHT IS YOUR RIGHT!” which is aiming at refugees being intergrated increasingly in everyday life. In this context he gives many workshops in schools, universities and other institutions.

Lydia Ziemke 2014Lydia Ziemke, born 1978 in Potsdam, lives in Berlin. She studied Classics at the University of Edinburgh and was running the Gilded Balloon Studio Ensemble there for three years. Since 2006, after completing LAMDA’s one-year directing Pro-gramme, she divided her time between London and Berlin as a freelance director and dramaturg. In 2009 she assisted Ramin Gray and Mark Ravenhill at the Royal Court Theatre, was directing and dramaturgical assistant at the Schaubühne, Berlin, took part in the International Forum of the Berliner Theatertreffen, and founded the international company suite42 with the piece LAND WITHOUT WORDS by Dea Loher, which toured internationally until 2013 and has recently been restaged by the company in German and French. 2010 Ziemke was the German recipient of the British Council Cultural Leadership scholarship and travelled in five arabic countries and theatre scenes. 2011-2014 the company produced plays by contempo-rary Arab writers for the Heimathafen Neukölln and since then cooperates with companies in Lebanon, Palestine and Mo-rocco. Ziemke writes radio features, i.e. about the refugee protest movement on Oranienplatz in Berlin Kreuzberg for Deutschlandradio Kultur, and articles for regional and international magazines. German theatre critic Patrick Wildermann called her a “translator of the unspeakable” in the theatre magazine “Theater der Zeit”. Since 2014 she curates and co-moderates the salon “ÜberMorgenLand” at the Radialsystem V, Berlin.

Chloe Zeegen: I love myself ok? A Berlin Trilogy

mikrotext-cover-201303-zeegenYoung, angry and articulate, the narrator of Chloe Zeegen’s Berlin Trilogy moves to Berlin (drugs, clubs, parks and politics), outs herself on Facebook and tests her luck. Fast-paced and in your face.

Out in October 2013
about 80 pages on a smartphone
ISBN 978-3-944543-07-9

Free download! ePub PDF mobi

„C’était exaltant, c’était indé, c’était Patti Smith.“ (Mediapart/Moyen-Courrier about Chloe Zeegen’s ebook launch at Berlin-Katersalon at Rockmarket during the Frankfurt Book Fair 2013)

„Your writing brilliantly reflects that the real (in your case: your autobiography, buying drugs, questioning your sexuality) and the virtual (chatting to people on Facebook, Googling stupid shit) are always intertwined. You deconstruct the apparent dichotomies so easily, it’s astonishing. You do so without even talking about it. Your writing subtly reflects it. I love that.“ (Kristoffer Cornils, wolfauftausendplateaus)


Chloe Zeegen’s trilogy of short stories requires a genre all of its own. Social commentary? The Facebook generation’s sexual awakening? Zeegen’s spontaneous and conversational style reads like online chat intersected by passages of poetry. Her narrator experiences Berlin’s parties and private views, meets random people, assembles her Ikea bed, paces through history and turns an intellectual eye to pop architecture. Kreuzberg and Neukölln feature, as does the ‘Späti’ – the trusty Berlin 7-11. An original and striking voice that you have certainly not heard the last of at mikrotext.

I go to a bar on Oranienstraße. There’s some random there and we chat for a bit but pretty soon he’s like just moved here have you? think you’re an artist? it’s people like you who are destroying Berlin you fucking tourist. I laugh in his face give him the finger but I don’t just give him the finger I pretend to run my tongue over it up and down to show him just how much of a creative little bitch I am and that really pisses him off and his friends are like leave it leave it.

The author

20140112 Chloe Zeegen selfie_400x400Chloe Zeegen, born in 1980 in Watford, UK, is a writer and post-internet artist. She studied Philosophy & German at Oxford University and moved to Berlin in 2012, following a career in arts management in London. In 2012 she experimented with Facebook and Twitter as a platform and medium for first-hand art and creative writing in her multi-media, interactive project Chloe Zeegen is a self-styled Facebook star. This project formed the basis for her contemporary fiction, also initially published on Facebook. She featured in the debut issue of STILL Magazin and has performed her work at venues across Berlin. “I love myself ok? A Berlin Trilogy” is Zeegen’s first publication with mikrotext and her debut eBook.

Aboud Saeed: The Smartest Guy on Facebook. Status Updates from Syria

Aboud Saeed: Der klügste Mensch im FacebookMore than two years ago, the Syrian people revolted against the government, which then brutally fought back. At about the same time, 30-year-old Aboud Saeed began his personal revolution on Facebook. His daily status updates have become a literary documentation of his life.

“The Syrian Bukowski.” (Aspekte, Link to feature in German TV channel ZDF)
“Saeed’s Facebook feed is a lot of fun to read. It’s quippy and clever and exotic but relatable. … Saeed is perhaps the world master of humble brag.” (Amanda DeMarco, Readux Reads)
“Read this book! It is wham!” (Andreas Schäfer, Der Tagesspiegel)

Out in October 2013 (first published in German in March 2013)
Translated from the Arabic by Yusuf Sabeel, Sandra Hetzl, Nik Kosmas; with an afterword and a glossary, about 250 pages on a smartphone, ISBN 978-3-944543-09-3

Also available at:
Amazon.com, Amazon.co.uk beam buecher.de Google Play Hugendubel iTunes Kobo Thalia and many other webshops


Aboud Saeed writes anecdotes, aphorisms, prose poems and commentary. About his mother, smoking, Facebook, love, and daily life during the violent Syrian conflict. Displaying a dark humor in sharing the absurdities of his life, he provides a different and more humane perspective on current events in his country than all the news and reports that usually reach us.

09 May, 2012, 12:25pm
Also, despite the civil war /
While my mother and I sit and smoke together, I tell her, “Mom, take a long drag, drag so deep you feel the smoke playing in your heart.”
My mom takes a drag and laughs happily. “Mom, tell me, you want to enter paradise right? Then repeat after me, ‘Fuck the Sunnis and the Shi’ites and the Christians, and the Druze, and the Jews, and the non-believers, and the Muslims…all of them.”
My mom hesitates, looks at me, her eyes all red from the smoke, and she asks me, “But is it ok to say something like that?”
“Sure mom of course! Whats wrong with that?” 210 Likes

The author

Foto Aboud Saeed_privatAboud Saeed was born in 1983 and lives in the township of Manbij, in the province of Aleppo in northern Syria. Manbij was heavily bombed by the Assad-regime in 2012 and early 2013. Aboud Saeed lives with his mother and seven siblings in one room in a small house. After the ninth grade, he left school, and trained to be a smith and welder. For the past 11 years, he’s worked in a workshop. For three years he was a foreign worker in a plastic factory in Lebanon, where he lived in a tin shack. In 2008, he received a high school equivalency diploma, and enrolled in a university to study economics. The university is currently closed due to the political situation. In 2009 Saeed created a Facebook account and posted there every day. The Smartest Guy on Facebook, a selection of his status updates, in which he writes about his mother, smoking, Facebook, love, and daily life during the violent Syrian conflict, is his first book. The Lebanese newspaper Annahar wrote of him in late December 2012, “Going on Facebook without getting to know Aboud Saeed is like traveling to Paris without seeing the Eiffel Tower.”

The translators

Sandra Hetzl_Portrait_privatSandra Hetzl was born in 1980 in Munich and lives in Berlin. She studied Visual Culture Studies at the University of the Arts (UdK) and works as a documentary filmmaker and translator from the Arabic.

Nik Kosmas was born in 1985 in Minneapolis (USA). He lives and works in Berlin as an artist, consultant and personal trainer.

Yusuf Sabeel was born in the Manbaj of Somalia and grew up in California. He studied Comparative Literature at Columbia University. Over the past two years he has been traveling and working in North Africa, Europe and The Middle East. He currently lives in Rabat.