Essays

Mise en scène, écriture – pièces de théâtre, poésie, récits, journaux – et présence sur scène : tout est lié chez Angélica Liddell. L’art et la vie, la fiction et la biographie, la création poétique et la réflexion théorique entretiennent les uns avec les autres des liens évidents et complexes. Ce volume inclut une série de textes qui, depuis une perspective théorique, éclairent en partie la pratique théâtrale de leur auteur, contribuant à la construction d’une poétique toujours inachevée, basée sur une expérience vitale.

Dans cet essai recueillant douze conférences et entretiens, Angélica Liddell évoque la création artistique ainsi que son processus dramaturgique très organique et très violent car « la violence poétique est nécessaire pour combattre la violence réelle ». 

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Direction, writing—plays, poetry, stories, journals—and stage presence: everything is interconnected in Angélica Liddell’s work. Art and life, fiction and biography, poetic creation and theoretical reflection maintain obvious yet complex connections with one another. This volume includes a series of texts that, from a theoretical perspective, shed light on the author’s theatrical practice, contributing to the construction of an ever-unfinished poetics rooted in lived experience. 

In this essay, which brings together twelve lectures and interviews, Angélica Liddell discusses artistic creation as well as her highly organic and violent dramaturgical process, for “poetic violence is necessary to combat real violence.” 

A meditative reflection on language and its loss.

How does one language inherit another? Defeat, erase or live through another? How to speak dead is Walid Sadek's meditative reflection on language, dead or victorious. At heart, beyond defeat and victory, it is a reflection on how one can approach a speaking that is of neither a living language nor a dead one. A speaking that knows loss and knows it is woven into every uttered word, every spoken sentence. A loss that becomes syntax.

"There, where the battle is lost and won and where, after the hurly-burly is done, we may approach a speaking that is of neither a living language nor a dead one. A speaking that knows loss and knows it is woven into every uttered word, every spoken sentence. A loss that becomes syntax."
Walid Sadek

Walid Sadek (born 1966 in Beirut) is a Lebanese artist and writer. He is a professor at the Department of Fine Arts and Art History of the American University of Beirut.

MARG1N is an annual Southeast Asian film magazine by writers, filmmakers, and artists. Our second issue honors memories and gazes that drift through Singapore and Vietnam. Through essays, visual scripts, archives, and more, TRACES unearths the flotsam, jetsam, and derelict that churns throughout or beneath today’s cinematic currents. 

Traces are fragmentary by nature. You can never deduce a comprehensive view from a trace. Traces gesture, shock, defy, and aspire toward a greater truth than their whole existence. In some way, a film is also a collection of traces, with the hope of invoking in its viewers a sense of wonder and resonance that makes us pause, perhaps rewatch, and rethink certain rigidities. The writings that we have worked with in this issue embody that generative power of traces.

Contributors (In Order of Appearance)
Tracey Toh, Bert Ackley (vinatapes), Daryl Cheong, Lananh Chu, Nguyễn Trinh Thi, Tan Pin Pin, Đỗ Văn Hoàng, Yeo Siew Hua, Lena Vu , Mai Huyền Chi, Hugo Hamon, Mark Chua, Lam Lishuen, Looi Wan Ping, Sasha Han, Dan N.Tran, Alex Lee, Nguyên Lê, The Yang One, Linh Duong, Ton-Nu Nguyen, An Trần, Grace Song, Krystalle Teh, and Dương Mạnh Hùng 

Featured Filmmakers
Toh Hun Ping, Tranh Anh Hung, Nhu Quynh, Dang Nhat Minh, Ho Tzu Nyen, Daniel Hui, Min-Wei Ting, Tony Bui, Truong Minh Quy, Nguyen Vu Tru, Trinh Thi Minh Ha

Editor-in-chief: Savunthara Seng
Managing editor: Alyssandra Maxine
Guest editor: Dương Mạnh Hùng

https://marg1n.com/

Set against a backdrop of trans life that begins with her own transition in the 1960s, Vivian Blaxell takes us on a witty and expansive sweep through history, from Australia to Japan, to Hawai’i to Mexico, to heretofore unmapped regions of the mind. In seven devastatingly intelligent parts, her essay covers a vast range in time and space — from the arson of a Japanese temple to a transformative encounter with a coral reef, from Nietzsche and Hegel to Indigenous metaphysics, from a perplexing relationship with a beautiful man to the unknowable minds of animals. Fleshy and philosophical, searching and exalted, utterly distinctive and assured, Worthy of the Event belatedly establishes Vivian Blaxell as one of the major writers of her generation.

Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Anne Bromley's collaborative radio practice.

Since 2010, Anna Bromley has been inviting artists, activists and cultural researchers into the radio studio to explore language and voice together, in the context of sound, politics and everyday life. What began as an artists' radio research format has developed over the years into a series of exhibition pieces focusing on radio and its visible and invisible transmission bodies.
Publishing a selection of her radiophonic essays here for the first time, I Speak Radio reflects Bromley's collaborative radio practice. The publication also provides insight into the corresponding exhibition formats of these projects, including cooperations with a large number of artists, activists, radio makers and theorists. An index of images and texts on Bromley's other artistic works is inserted into the book.
I Speak Radio opens with Bromley's eponymous multimedia essay on the feminist appropriation of early radio technology in the 1920s. A Voice Exists in Voicing, the series of radio essays and sonic portraits with which Bromley opened the Manifesta Radio in Prishtina in the summer of 2022, comprises the core of the book. The accompanying visual element to this section is a series of drawings by Michael Fesca. Contextualizing texts by Catherine Nichols and Hedwig Fijen provide an introduction to A Voice Exists in Voicing. Finally, Bromley talks to media activist Diana McCarty about the politics of persistent radio voices and considers critical perspectives on radio as a medium within art exhibitions.

The reader series Scriptings: Political Scenarios publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.

Contributions by Anna Bromley, Diana McCarty, Hedwig Fijen, Catherine Nichols, Tetsuo Kogawa, Alla Mitrofanova, JD Zazie.

Otherhow brings together four decades of writings, lectures, interviews, and documentation of work by the artist Joseph Grigely. Deaf since the age of ten, his art and writing have long questioned and made use of various modes of communication—photographs, handwritten notes, lipreading, newspaper headlines, paintings, and TV captions—to examine and scrutinize the ableism embedded in cultural and media production. From his brilliant series of postcards addressed to Sophie Calle, where he began to formulate a theory on the intersection of disability and art, to his epic lecture “On Failure,” which brings together the poet Keats, “the first woman of fly tying” Helen Shaw, and the filmmaker Andrei Tarkovsky to the same table for a conversation on beauty, Grigely’s writing is erudite, but clear; righteous with fury, but dryly humorous.

An underlying theme throughout are modes of access and how issues of accessibility and their resolution provide a benefit to everyone, not just the disabled. Chapters devoted to art, access, and advocacy underpin the interconnected nature of these issues in a maddening, but ultimately enlightening manner. Letters of complaint, faxes and emails, unpublished op-eds, exhibition proposals, statements on equality and access; each provide a glimpse into how Grigely’s work has been shaped by—or constructed from—the “tangled process” of opening access.

Joseph Grigely, artist, educator, and activist, is currently a Professor of Visual and Critical Studies at the School of the Art Institute of Chicago. He holds a Doctorate in Philosophy from Oxford in English literature and has taught at Gallaudet University, Stanford University, and the University of Michigan. Exhibiting widely in the US and Europe, his most recent show In What Way Wham? was presented at MASS MoCA in 2023–24. His work is in the collections of the Museum of Modern Art (NY), the Whitney Museum of American Art, the Tate Modern, and the Stedelijk Museum, among others.

An atmospheric rumination on gendered violence, cosmic collapse, and colonialism.

From deep inside a black hole, comes Nothing at All—the space where everything collapses: form, genre, gender, and being. Olivia Tapiero’s poetic  and essayistic fragments overflow with lyric beauty as they explore how colonialism, illness, and desire intertwine amidst personal and collective suffering. Generations, geographies, and desires mingle, contaminating one another in these anarchic, insubordinate texts. Here, the written word disrupts foundations and nations, claiming its own survival.

Olivia Tapiero is a writer, translator and musician. She is the author Les murs (Robert-Cliche Award, Prix Senghor finalist), Espaces (2012), Chairs (2019), Phototaxie / Phototaxis (Nightboat Books, 2017 / 2021, Lambda Literary Awards finalist), and Rien du tout (2021, Grand Prix du livre de Montréal Finalist, Governor General’s Literary Awards finalist). She is editor-in-chief for the literary magazine Moebius, and has contributed poems and essays to various publications in Canada, France, and Korea. She has also translated works of contemporary authors such as Roxane Gay, Anne Boyer and Billy-Ray Belcourt. She lives between Marseille and Montréal.

Foreword by Anne Boyer.

Clipping 2: Sum, Parts brings together transcripts, commissioned texts, studies, and personal reflections that explore how transformation is central to building archives that remain alive through time. Clipping, in sonic terms, signals distortion—moments when excess pushes beyond clarity and opens new spaces of possibility.

The issue features contributions by Monique Todd, Andrea Zarza Canova, Cleo Tsw, Zahra Malkani, meLê yamomo, Melisa Cenik, Golnoosh Heshmati, Voice as Landscape (Alec Mateo and Lorenzo García-Andrade Llamas), Atiyyah Khan, Ibelisse Guardia Ferragutti, Femke Dekker, and Alice Twemlow. It is edited by Federica Notari and Cleo Tsw, designed by Catherine Hu and Cleo Tsw, and printed and bound by No Kiss.

the netherlands has been the home of irishman charlie jermyn for the last 5 years; it’s a nation that has been dredged up from the water and which attempts, to this day, to hold back the persistent tide. in this brilliant and very-hard-to-describe debut novel, jermyn brings the common and absurd to crisp, shimmering life through his essays and short non-fiction pieces, reminding us to take note of the mad and brilliant world around us before the tide comes in again.

illustrated by samuel van heijningen

In A Room of One's Own, Virginia Woolf imagines that Shakespeare had a sister—a sister equal to Shakespeare in talent, and equal in genius, but whose legacy is radically different. This imaginary woman never writes a word and dies by her own hand, her genius unexpressed. If only she had found the means to create, argues Woolf, she would have reached the same heights as her immortal sibling.

In this classic essay, Woolf takes on the establishment, using her gift of language to dissect the world around her and give voice to those who are without. Her message is a simple one: women must have a steady income and a room of their own in order to have the freedom to create.

With a Foreword by Mary Gordon

If there is a centre around which the language of this pamphlet circulates, then it is Palestine. As this centre, Palestine enables a transformative power that persistently and steadfastly turns repression and silencing into solidarity. Essay-fiction, prose poetry, radical philosophy, speculative nonfiction — this uncategorizable collection of texts brings militant inquiry to each utterance, each narrative turn, in acts of transnational and transhistorical becoming.

Fifty years after the fall of Saigon, Dao Strom’s Yellow Songs vibrates with the ramifications and ripples of Empire. Each of the four Yellow Songs books reckons with the intimate consequences of the colonial project, reconfiguring them into complex and lucid, literal and figurative songs of selfhood. Embodied, critical, wholehearted, collective, personal, genre-defying—Yellow Songs renders the brute force of history with tender precision. Art book quality printing in full color with felt paper inserts.

Yellow Songs 1: Voiced-Voiceless unearths, unwinds, un-bodies the violence of stigma, reclaiming the ventriloquized voice of David Bowie's "China Girl” through a lyric-critical essaying (assaying) of cultural tropes, racialized and gendered power plays, and memory.

Yoko Tawada's first essay collection in English presents and electrifying new side of the National Book Award-winner as she dives deep into her lifelong fascination with cross-hybridizing languages. The accent here, as in her fiction, is on the art of drawing closer to the world through defamiliarization. Tawada famously writes in both Japanese and German, but her interest in language reached beyond any mere dichotomy. 

The term "exophonic," which she first heard in Senegal, has a special allure for the author: "I was already familiar with similar terms. 'immigrant literature,' or 'creole literature,' but 'exophonic' had a much broader meaning, referring to the general experience of existing outside of one's mother tongue." Exophony opens a new vista into Yoko Tawada's world and delivers more of her signature erudite wit—at once cross-grained and generous, laser-focused and multidimensional, slyly ironic and warmly companionable.

A New Yorker Best Book of 2025. Translated from Japanese by Lisa Hofmann-Kuroda.

When conventional language does not equip us with the tools to speak about ourselves, we create our own. Slang expresses words and feelings that break down boundaries. It is a form of protest and fills in the gaps.

The Queer Arab Glossary is the first published collection of Arabic LGBTQ+ slang. This bold guide captures the lexicon of the queer Arab community in all its differences, quirks and felicities. Featuring fascinating facts and anecdotes, it contains more than 300 terms in both English and Arabic, ranging from the humorous to the harrowing, serious to tongue-in-cheek, pejorative to endearing. Here, leading queer Arab artists, academics, activists and writers offer insightful essays situating this groundbreaking glossary in a modern social and political context.

With beautiful, witty illustrations, The Queer Arab Glossary is a powerful response to pervasive myths and stereotypes around sexuality and an invitation to take a journey into queerness throughout the Arab world.

Contributors include Saqer Almarri, Nisrine Chaer, Sophie Chamas, Rana Issa, Adam HajYahia, Suneela Mubayi, Mejdulene Bernard Shomali, Hamed Sinno and Abdellah Taïa.

The Queer Arab Glossary was made possible with the generous support of the Arab Fund for Arts and Culture – AFAC, Mophradat, Bashar Assaf and Mohammed Fakhro.

Foreword by Rabih Alameddine

The eleventh issue of Robida magazine, is collection of essays, photographic explorations, visual narratives, art projects, and poetic texts all centered on the orchard as landscape and fruit trees as powerful metaphors and living archives of stories and memories.

Robida is a situated, multilingual cultural magazine published by Robida collective. Each issue explores a topic connected and generated by Topolò/Topolove, the village on the border between Italy and Slovenia where the collective is based.
The chosen topic is thrown into the world and interpreted by people who have never been to Topolò. What people send back after the open call is not only a contribution to the exploration of a defined theme but also a new interpretational tool to explore the collective’s relation to Topolò.

CONTRIBUTORS
Alessandra Saviotti, Alja Piry, Aljaž Škrlep, Alessandra Faccini, Anastasia Kolas, Andrea Martinelli, Andreina Trusgnach, Angelica Calabrese, antonisotzu, Antônio Frederico Lasalvia, Cassidy McLeod McKenna, Companion–Platform, Danijel Losic, Derek Scott Russell, Dora Ciccone, Eda Aslan, Elena Braida, Elena Rucli, Emmy Elvira Wassén, ERBA, Francesca Farris, Francesca Battaglia, Francesca Lucchitta, Giovanni Aloi, Giulia Bertuletti, Gregor Božič, Greta Biondi, ife collective, Jana Kiesser, Jannete Mark, jean ni, Jennifer Shin, Jessica Hollis, Jip van Steenis, Julina Vanille Bezold, Kristína Mičová, Lalie Thébault Maviel, Laura Savina, Lina v. Jaruntowski, Lindsay Buchman, Luca Vettori, Luca Battista, Ludovica Battista, Luigi Coppola, Luisa Gastaldo, Maria Elena Vecchio, Marta Pagliuca Pelacani, Martina Havlová, Martina Motta, Mia Frances LaRocca, Michael Marder, Nataša Kramberger, Ola Korbańska, Paolo Bosca, Rachele Daminelli, Rosie Ellison-Balaam, Sasha Arutyunova, Serena Abbondanza, Silvia Mascheroni, Stephanie Rebonati-Cannizzo, Teresa Carretta, Terry Cueball, Vesna Liponik, Victoria King, Vida Rucli, Vittoria Rubini

Languages: English (mainly), Italian, Slovene, French, German + local, minoritarian lan(d)guages and dialects from the regions of Benečija, Valchiavenna, Abruzzi, Bari, su Logudoru, Corsica, Gorenjska, Cetuna and the White Carpatians region.

An occult history that grounds the sacred yearning for magic in real life. 

In these essays by scholar and self-initiated witch Brooke Palmieri, occult history, the eternal now, and our magickal queer futures align, connecting us to an enchantment both contemporary and classic. Drawing upon the knowledge and influence of practitioners from Rachel Pollack to Tituba, Palmieri grounds the sacred yearning for magic in real life, whether exploring the gossip of feuding Salem witches, paying the rent by playing "wizard" for news cameras, or detailing the psychic ups and downs of working in an occult bookshop. Written in a voice electrified with love for the craft and its lineage of eccentrics, Bargain Witch shows us witch life in all its quotidian humor and splendor, taking its place amongst the magickal classics that inspired it, a literary ouroboros.

Brooke Palmieri is a writer and artist based in Joshua Tree. His writing considers the past as a supernatural encounter, spanning hundreds of years of queer and trans history, and the magic, mystery, and erotics of working in archives. Bargain Witch: Essays on Self-Initiation is his first book.

A spiritual homage to Bernadette Mayer's monumental artwork of the same title, Dorothea Lasky's Memory is a cycle of "poet's essays" stirred by two profound questions. What constitutes personhood and consciousness? What memories get lost, and why?

Expansive in her quest for answers, Lasky launches an inspired investigation of the forces that form our lives and deepest senses of ourselves. She identifies three dimensions of memory—ancestral, personal, and poetic—and in her singularly clear voice, undertakes to enter into their mysteries. From those recesses, she returns with a wide-ranging collection of essays that like lyric poems find the universal inside the particular. Memory reflects on the banal; private emotions and historical trauma; dear departed poets (Diane di Prima, Lucie Brock-Broido); her father's battle with Alzheimer's; and cultural events that have become charged sites of collective reminiscence (the moon landing, the music of Neutral Milk Hotel). Other pieces face the flip side of memory, asking what's left where memory is absent, and what's "real" beyond the horizon of death. The book closes with "Time, the Rose, and the Moon," an ars poetica published here in English for the first time, which offers the ancient symbol of the Ouroboros as a figure for the nonlinear processes of time, memory, and art.

Like Mayer before her, Lasky reveals memory to be huge and haunting, as she accumulates impressions that challenge the very possibility of fixed meaning. "Every rose has the scent of death," she writes. "And poetry is a perfume. That will stay on your body forever.... Whatever happens this time around, remember that."

Dorothea Lasky is the author of six full-length collections of poetry, including, most recently, The Shining (2023). She is also the author of the prose book Animal (2019) and a forthcoming book about Sappho, as well as the editor of Essays (2023) and a coeditor of Open the Door: How to Excite Young People About Poetry (2013). Her writing has appeared in POETRY, The New Yorker, The Paris Review, The Atlantic, and Boston Review, among other places.

What can we know, and what remains beyond our reach? 

In 1979, Annie Dillard witnessed the solar eclipse in Yakima, Washington. In Total Eclipse this celestial event becomes a metaphysical reckoning. With lyrical precision and eerie clarity, Dillard unforgettably evokes the strangeness of the shifting sky and the psychic dislocation that descends with the shadow. 

The quiet yet epic unravelling of the familiar becomes revelation: a rupture in time, a confrontation with mortality and a brush with the sublime. Juxtaposing the cosmic and the mundane, Total Eclipse meditates on the limits of perception and language, entering the surreal intensity of the phenomenon to emerge with the brief, blazing clarity offered by darkness. 

Foreword by Himali Singh Soin
Images by Mark Lowe

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.

A beautiful compilation of poems, stories, essays, talks, and illustrations by Ursula K. Le Guin. Edited and designed by Conner Bouchard-Roberts. 

With additional essays on Le Guin's thinking and craft by: adrienne maree brown, Isabelle Stengers, Moe Bowstern, Lola Milholland, Nisi Shawl, David Naimon, Mary Anne Mohanraj, Margaret Killjoy, Julie Phillips, and Harold Bloom.

This book serves as the companion publication to a gallery exhibition, of the same name, about Ursula’s life and work, showing at Oregon Contemporary Museum (from Nov 1st 2025 - Feb 8th 2026 in Portland, OR) curated by the Author’s son, Theo Downes-Le Guin.

This is a limited edition book. The author trained an LLM on the texts of a deceased theorist, and then proceeded to interact with the LLM and produce simulations of what the theorist may have said in regards to various pertinent topics. The book is primarily a free online resource, but a few copies are being printed to commemorate the work. It has a foreword and afterword by the Editors. 

At the core of this project is a translation of “Marxist Islam or Islamic Marxism,” a groundbreaking text written by Bizhan Jazani during his imprisonment in the 1970s under the Shah’s oppressive regime. Translated by Parham Ghalamdar, this work is accompanied by an introduction contextualizing Jazani’s radical vision. Ghalamdar also contributes a series of ASCII-style illustrations and diagrams—AI-assisted reinterpretations of Jazani’s original paintings and photographs—that bridge the past and present, offering a new perspective on his revolutionary artistry. 

Siahkal names a place in the forests of Gilan and a threshold in revolutionary time. In 1971 a guerrilla action near Siahkal shook the order of the Shah. The action failed militarily yet seeded a myth for the People’s Fedai Guerrillas. Bizhan Jazani, a founding thinker, wrote and painted in prison and was executed in 1975. His work teaches that strategy rather than sentiment endures. // This book treats Siahkal as a Deep Object, a persistent attractor that gathers memory, images, and tactics. An AI model trained on Jazani’s writings and paintings translates his essay on Islamic Marxism and proposes annotations. The machine functions as a probe that widens attention while remaining accountable to the source. Parham Ghalamdar trained the AI, wrote the introduction, and composed ASCII diagrams and diagrammatic readings from Jazani’s artworks. Parsa Esmaeilzadeh contributes an essay that reads Jazani through Karatani and left accelerationism. // It is a call to reimagine and export revolution as a Deep Object that asks for Deep Time to unfold. This clandestine edition invites the reader to study, test, and build strategy that can outlast the news cycle and meet the future head on. 

Parham Ghalamdar is a multidisciplinary artist currently based in the UK. Ghalamdar’s work traces forgotten mythologies, buried philosophies, and visual ruins, reconfiguring them into speculative worlds where memory, fiction, and futurism collapse into one another. Drawing on cybernetic theory and generative AI, he explores how systems of feedback, simulation, and machine vision mediate our understanding of history and possibility. Through painting, film, and writing, he builds narratives that feel both ancient and yet-to-come, haunted by lost histories and animated by possible futures.

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life.

In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to How do you throw a brick through the window of a bank if you can’t get out of bed? It was not long before this essay, “Sick Woman Theory”, became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism—a system that limits our worth to the productivity of our bodies—we must reach for the revolutionary act of caring for ourselves and others.

How to Tell When We Will Die expands upon Hedva’s paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal—from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America’s byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness—relying on and fueling ableism—to the detriment of us all.

With the insight of Anne Boyer’s The Undying and Leslie Jamison’s The Empathy Exams, and the wit of Samantha Irby, Hedva’s debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive.

Writing on the fragmentation of chronic illness, why ‘full access’ isn’t something arts venues should aim for, the complexities of receiving gender-affirming care while living with chronic illness, the realities of constantly having to ration your energy, an interview with musical artist Dead Gowns, abortion access and bodily autonomy, poetry, artwork, book recommendations, and much more.

Essays, features, poetry, art, interviews & more from Vida Adamczewski, A/Bel Andrade, Amy Berkowitz, Khairani Barokka, Jax Bulstrode, Sarah Courville, Jen Deerinwater , Amy Dickinson, Mizy Judah Clifton, Alton Melvar M Dapanas, Dead Gowns, Sergey Isakov, Theo LeGro, Elias Lowe, Cathleen Luo, Jameisha Prescod, Olivia Spring, Leigh Sugar, Oriele Steiner, Emerson Whitney, Chantal Wnuk, Caroline Wolff, and Emma Yearwood

SICK is an independent, thoughtful magazine exploring illness and disability, founded & edited by Olivia Spring and designed by Kaiya Waerea. Founded in Norwich, UK in 2019, we are currently based in Maine, USA and London, UK. We typically publish one issue per year.

‘Palestine is everywhere because it names a political subject of radical universal emancipation,’ writes teacher and writer Nasser Abourahme. In Palestine is everywhere, writers, thinkers, poets and artists map the Palestinian struggle for freedom and its global resonances.

Vital dispatches from Gaza, essays, poems, protest chronicles, images and letters from prison reflect upon resistance, solidarity and the right to self-determination. Amid a world-historical moment marked by unknowability and loss, this collection offers essential reading for those interested in Palestinian liberation.

This collection is edited by Skye Arundhati Thomas, with contributions from Alaa Abd El-Fattah, Nasser Abourahme, Amal Al-Nakhala, Muhammad Al-Zaqzouq, Maisara Baroud, Ahmed Bassiouny, Houria Bouteldja, Anees Ghanima, Sahar Khalifeh, Laleh Khalili, Lujayn, Mira Mattar, Lina Meruane, Mohammed Mhawish, Nahil Mohana, Rahul Rao, Nasser Rabah, Adam Rouhana, Ahmad Zaghmouri.

Co-published by TBA21.

All royalties from this project will be donated to Medical Aid for Palestinians (MAP) and The Arab Group for the Protection of Nature (APN).