Kim TallBear writes an update on her post-Covid palate for food, drink, sex, and conversation, and opens her tattered copy of Simon(e)’s book for some inspired remote discourse.
In the midst of a lockdown, Simon(e) van Saarloos questions their relationship to time, to dreams, to public space, and to the sexuality of voles.
Residents of the San Antón neighborhood in Carolina, Puerto Rico create oracles with botanical inks on behalf of loved ones who introduced them to the world of plants.
In her response to Simon(e) van Saarloos, Kim TallBear discusses finding her polyamorous community, cross-border lovers, and navigating multiple relationships in a lockdown.
Travis Ray ComesLast committed a terrible crime, but what should happen next? Stories of injury and stories of repair involve us all. We must tell and receive these stories collectively.
Plants and resilient Indigenous people on the walls spoke to me. I listened to them. I still try to silence myself to learn more from them. This was my first primer on how to rise as an Indigenous person and ‘bleed the stone’, transforming bodies (human and non-human) towards life and liberation.
In part two, the purposes and ambitions of queer literature change in the ‘80s with the rise of AIDS and a punishing, homophobic backlash. These cultural conditions birthed a new political awareness—one that linked queer communities to other historically marginalized and oppressed people.
The “Make Love Not War” bumper sticker on Harry Gamboa Jr.’s VW in 1970s East L.A. stood out against the police brutality his Chicano community experienced. One incident in particular left him bloodied and disoriented. He recounts the events that gave him the critical focus for his photographic artistic practice.
We want to find living examples of a functioning Polity of Literature. A friend suggests, why not look at prison writing?
When an anarchist hosts a blog it becomes a polity. Dennis Cooper’s features literature (and GIF novels).
Provoked by blind spots in a recent New York Times piece about “the African literary scene,” Zimbabwean writer Audrey Simango reports on the conditions she finds on-the-ground for millennial African writers today. The conditions look good.
Vocal improvisers share their perspectives on the unique functions of voice within musical performances, being at once both vulnerable and powerful.