A journal of critical and creative writing
“I have eight weeks before the changes are noticed. In eight weeks I can do a lot of damage. For a little while, the materials will not be missed and my nano sabotage will go undetected.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
“As the country has begun to stagnate economically, so too has the development of its contemporary art scene.”
Published in partnership with Everything Forever, organised by Contemporary Art Practice at the Royal College of Art.
“I suffer from acute anxiety and OCD, but I prefer the old Victorian term for my condition: the doubting disease.”
“It’s a brittle limestone tragedy rather than Shakespearean, the kind Bergman, Fellini, and Antonioni patented years ago.”
“Here in form if not in content, is my father in his broken epilogue – sentences, offered from across the border”
“At these minor garden parties,/Wind lushes and lashes/Through tended-to bush/Gusts across tennis courts (the nets slap/And billow); Ford Fiestas at the perimeter/Unmoved by all of this.”
“The weight of ancestry and history press down on Amina’s reflections as she carries, quarries, and questions the burden of cultural inheritance: ‘Where does my history begin?’”
“As TV Bra is a record of Moorman’s corporeality, its reception without Moorman is burdened by the complications of mourning.”
“The brightness melts my insides/into something that more resembles/a Salvador Dalí painting than/anything earthly”
“Past the hospital, through once grand streets. A short walk across almost waste ground to get to that place where the machines slept their clockwork dreams.”
“White male anxiety about an impending age where his place is not solidified is nothing new. We know this story too well, yet on screen white men go on killing, their violent delights our supposed entertainment.”
“Someone/who loses himself for the damp word of promise/where smoke rolls upward from a Pall Mall.”
“After more than a decade constructing this image, why come out now?”
“I stalk a weakening current, a mirror/to wandering, tracing faint verse/into sediment just/below whitewater.”
“In need of some levity, I ran my finger along the spines on the shelf and, naturally, plucked out Heart of Darkness.”
“These ghosts keep returning in Dickens’s writing not just because of their practical uses, but also out of necessity: they are an intrinsic component of his craft. Dickens knew all too well that a writer must be a bodysnatcher.”
“At the time of the heist, the lemur was thirty-two years old.”
“Johnson, like the archetypal Pauline katechon, has been outmatched and overwhelmed by a crisis he has proved damningly incapable and incompetent to restrain, and which will further darken his already wretched political legacy.”
