Pulp III: An Intimate Inventory of the Banished Book
Searing, elegiac and fiery, Pulp Vol III is epic in scope and execution. Chronicling the vast array of issues surrounding books, libraries and communities, Pulp Vol. III centres stories of vanishing languages in Singapore and Italy, alongside archives of resistance, protest and community globally. Rao also presents a series of propositions on the futures of libraries, to a poetic inventory of their meaning to humanity. Chapters like ‘The Oral Testimony’ highlight the vital work of archives like IVESER, which collects the disappearing records of partisans, particularly the stories of women who resisted 20th-century fascism. Books as resistance appear in another chapter through the defiance of a persecuted founder of a shadow library of workers’ rights in South Korea, while ‘Dangerous Books’ highlights texts used to justify oppression and discrimination.
Excerpt
So many of our assumptions of what constitutes work (and associated notions of value) have been seen for the shams that they are, systems and structures without real significance, hamster-wheels of production without purpose, resource-gobbling without reflection, and extraction without equity. Our reminders of communal humanness and participation in the world have been battered as well - sociability, collaboration, spontaneity, and the art of ramble-travelling are just a few examples. At a more critical level, the pandemic has affected the already-vulnerable and precarious far more than those who have the means to create buffers between themselves and the world.
This project has, at its core, always attempted to dismantle, or at least pierce, some of these buffers, these swaddling layers insulating people and communities from each other. In some way, the challenge is more acute, and though it may seem indulgent to continue grappling with issues around the book, the library, and the futures of knowledge, these are still urgent battlegrounds, where the factions of disinformation and cynical greed hold sway.
In the end, like so many of us who work over longer spans of time in cultural fields, I am more unsure now than I was at the start of this project. Or perhaps I mean my younger self. After all, the melancholy of ageing is sometimes the sense of being overwhelmed by an accumulation of the years and the detritus of life lived, and yet paradoxically, it is also a denudation. As we are eroded, we try to re-exert control, we gather about us our precious memories, hold tight our dearest convictions, hardening them all into a few, paltry certainties. The simplest counter to this calcification is varying one’s encounters, allowing strangers to enter into our intellectual and emotional circuits. With the melting away of rigid certainties, there is a disorienting, but delirious, sense of unsureness. And this is where I believe I must be – in this state of not-knowing – to accept that there are no easy solutions or glib escapism. The only sure knowledge I seem to have, is of being constantly aware of the perilousness of our futures, and more importantly, the future of this planet. But this is not a fearful or lonely way to live, because after all, so many of us share this knowledge. To me, this provides us with the necessary kick-in-the-pants, it is the urgency behind pushing for necessary change – for more parity between people and communities, and an end to the rapacious interactions we have allowed to dominate our interactions with each other, and with the planet. This knowledge is vital, this knowledge is call to action, and yet it is so easily absented from our daily existences, from the media, from governance and from our stories. We are the book, this is the banishment, and we know what we must do.

Judges' Comments
Pulp III is a fascinating, deeply relevant response to the increased instrumentalisation of libraries, languages, books. This intermedial technically innovative text embraces many genres and forms in a sophisticated, intellectually ambitious work. It also technically extends beyond its covers – it was part of an exhibition at the Venice Biennale in 2022 – which inherently testifies to contemporary possibilities for contemporary print texts.
ABOUT THE AUTHOR

Shubigi Rao
Writer, artist and filmmaker Shubigi Rao’s award-winning Pulp: A Short Biography of the Banished Book is a long-term project spanning the creation of books to their destruction, the building of libraries to their burning, and the diverse threats to languages in embattled communities. In 2020 the second Pulp book won the Singapore Literature Prize (Creative Nonfiction), while the first volume was shortlisted in 2018. The first exhibition of the project won the APB Signature Prize 2018 Juror's Choice Award.
Short Notes with Shubigi Rao
What does "Mata Hati | 心眼 | Eye of the Heart | மனக்கண் வழியே" mean to you in writing?
Partly to trust my unfashionable softness and instinctual idealism, but also, more importantly, to deeply listen to all the other hopeful, idealistic people I meet, and film, in the course of my research.
What does your writing process look like? Do you type or write? Are there multiple drafts, long pauses, or sudden bursts of activity?
Two of years of intense research on my phone, and absolutely no writing. When it's finally time to write a new Pulp volume, I enter a hyper-focused, nocturnal binge over 15 days to a month. Not recommended!
What does your working space look like?
My prolifically-papered writing space and sprawling library are in my studio, where I make my films, artworks, and goof off with my kid. After almost 20 years of using my dining table, it's an absolute privilege to have my own space where I can work on multiple projects simultaneously.
Make an elevator pitch for your shortlisted work in 30 words or less.
An excellent doorstopper about the future of knowledge, books, and libraries, a crucial call to action. Embodies the power of art and literature against ignorance, violence, exploitation and greed.
Could you share a pivotal moment as you were writing this work?
The realisation that thinking and writing are a powerful counter to the despair and apathy one feels at the state of the world. Especially as I re-evaluated my ideological positions over the previous decade to reach a position of conviction - a staunch belief in a deeper, shared humanity and the power of literary work.
If you could give one advice to yourself when you were writing this book, what would it be?
To trust in idealism, for all that is required for an ideal to exist, is to think, write, and act as if it already does.