Promiscuous Infrastructures, practicing care

Tendrils threads through grief, joy and solidarity toward futures shaped by collaboration and care. Reaching through ecological crises, these poems seek new ways of living kinship in the more-than-human world.

This anthology gathers international voices that entangle, illuminate and resist: a collective turn to the future with renewal and possibility.

Edited and introduced by fieldnotes collective: Pratyusha, Jessica J. Lee, Alycia Pirmohamed and Nina Mingya Powles.

With contributions by Shasta Hanif Ali, Hala Alyan, Hana Pera Aoake, Polly Atkin, Kara Barlow, Khairani Barokka, Kat Benedict, Ahimsa Timoteo Bodhrán, Corinna Board, Jody Chan, Supriya Kaur Dhaliwal, Kerri ní Dochartaigh, Carlina Duan, Chloe Elliott, Zoë Fay-Stindt, Sophie Hoyle, Petero Kalulé (petals), Bhanu Kapil, Jayant Kashyap, Maija Makela, Lola Olufemi, Carl Phillips, Nat Raha, Shumin Tan, Dženana Vucic and Alice Willitts.

There is no such thing as a safe word. 

In Bad Language, So Mayer blends memoir and manifesto as they explore the politics of speech, while looking at how language has been used – and abused – in their own life. What is the relationship between language and sexual violence? And how can we ‘make ourselves up’ in language when words themselves are encoded by a dominant culture that insists we see ourselves as powerless listeners rather than active speakers? 

Examining the semantic traps of their multi-lingual childhood – and taking in texts from the Torah to Grimms’ Fairytales, from protest bust cards to the works of Ursula K. Le Guin – Mayer asks who gets to speak, and who is forced into silence. Bad Language calls out the harm that words can do, while searching for crafty ways through which we can collectively reclaim language for protest and pleasure. 

‘Mayer’s writing is generous, astute and sincere; in Bad Language, they choose their words carefully, using incantation and spell to distil a complex argument – the transformative power of language lay in its ability to shape sense perception. For Mayer, the task of ‘making ourselves up’ is another way of asking, what kind of world do we want to live in?’ – Lola Olufemi

SO MAYER is a writer, editor, bookseller and organiser. Truth & Dare, their first collection of speculative fiction, was longlisted for the Republic of Consciousness and Edge Hill Short Story prizes. With Sarah Shin, they co-edited Ursula K. Le Guin, Space Crone, winner of the 2024 Locus Award for non-fiction. Bad Language is their second book for Peninsula, after A Nazi Word for a Nazi Thing.

This is a book of failure and mistakes; it begins with what is stolen from us and proposes only an invitation to imagine.

In these playful written experiments, Lola Olufemi navigates the space between what is and what could be. Weaving together fragmentary reflections in prose and poetry, this is an exploration of the possibility of living differently, grounded in black feminist scholarship and political organising.

Olufemi shows that the horizon is not an immaterial state we gesture toward. Instead, propelled by the motion of thinking against and beyond, we must invent the future now and never let go of the otherwise.

Lola Olufemi is a black feminist writer and CREAM/Stuart Hall Foundation researcher from London. Her work focuses on the uses of the feminist imagination and its relationship to futurity, political demands and imaginative-revolutionary potential. She is the author of Experiments in Imagining Otherwise and Feminism, Interrupted: Disrupting Power, the co-author of A FLY Girl’s Guide to University, and a member of ‘bare minimum’, an interdisciplinary anti-work arts collective.

EcoRove’s Land Keepers Reader brings together writers, activists, journalists, farmers, and ecologists from across Bilad al-Sham — Lebanon, Syria, and Palestine — to tell stories of green resistance in the Jabal al-Sheikh ecological zone. Spanning South Lebanon, the occupied Jawlan, and the occupied Galilee, this landscape faces ongoing ecocide, defined as the deliberate destruction of land and ecologies used by the settler-colonial regime to erode livelihoods, cultures, and environments. The Reader highlights these struggles through essays, research and testimonies that show how native communities remain rooted in place, resisting colonial environmental orientalism, greenwashing, and scorched-earth tactics. As part of a wider body of work that includes a documentary film, tapestries, and sculptural pieces, the Reader amplifies indigenous ecological knowledge and envisions regenerative futures for threatened landscapes.

with contributions by Mahdi Sabbagh, Hamza Hamouchene, Public Works, Hussein Chaabane, Hisham Younes, Nadine El-Khoury, Michelle Eid, and Munira Khayyat

From the intro by Ecorove:
"Return, Al’Awda in Arabic, signals the right of return to homeland, a central tenet of the Palestinian struggle. Al’Awda affirms the fundamental historical, legal, collective, and individual right of Palestinians to return to their homeland. But how do we return to the earth after it has been damaged and scorched? In landscapes marked by war, ruins, rubbles, and ecological destruction, can Al’Awda take another form? Can generations of Palestinian diaspora exercise Al’Awda differently? At a time when international legal systems and institutions have failed to secure justice, can return to land be understood beyond legal definitions alone? In times of mass displacement and ecological devastation, Al’Awda may therefore exceed juridical meaning, and live through those who remain on the land and their acts of love, labour, and agriculture."

Each book comes with a 2-color, double-sided risograph-printed bookmark.
Ecorove is Iyad Abou Gaida and Jumanah Abbas.

A bold, revelatory argument for the power of language by leading radical lesbian feminist and author of The Straight Mind. 

The Literary Workshop takes readers inside Monique Wittig’s creative process, unlocking the practice of writing both in material and political terms. Wittig provides her most com­plete account of how literature and politics work together. Part of the generation that revolutionized French literature, Wittig reveals the secret of her craft: that the work a writer does with language is itself a form of resistance. 

Born and raised in France, Monique Wittig (1935–2003) was a driving force in second-wave feminism and one of the most brilliant authors of her generation. A provocative thinker, she famously declared that lesbians are not women and in­troduced women into a materialist framework by treating them as a class. Wittig is the author of, among other titles, The Straight Mind, Les Guérillères, and The Lesbian Body. Her debut novel, The Opoponax, won Le Prix Medicis. 

The book tracks the overlap of various “regimes of truth” from the Greco- Roman period through to the AI and cybernetic period, in order to present a continuity that ties together Christian Pastoralism and Neoliberal Self-Governance. The result is a fascinating and detailed examination of western hegemonial doctrines and signs, such as the Logos, the Flesh, and the Fall. 

Vachnadze leaves us with no conclusion besides a certain feeling in our stomachs, a feeling that often comes when someone makes you aware of something fascinating, but deeply unnerving. The author weaves scripture and theory together in a way which can be as exciting as conspiratorial fictions, but it is executed without compromising the respectable position he has established at the point where non meets sense.

This publication shows the waiting archive of the Museum of Resistance. The Brussels Museum of Resistance is undergoing renovation. Hidden in the basements of the civil affairs department, the stacked archive awaits a new home. Boxes filled with recognition files, photo albums, exhibition panels, books, flags, furniture, and other scenographic materials are scattered throughout the entire floor plan. The recently appointed archivist Samuel and historian Agnes are sorting through the archive pieces and are striving to ensure a future.