As an introduction to the work of Parwana Amiri, we’re republishing her story, “The Olive Tree and the Old Woman,” and making it available for sale from Publication Studio Guelph.
Having survived Moria refugee camp, Arash Hampay went to Athens to make soup for homeless people. Then he went to Hamburg and made more soup and an art exhibition. What if this is literature? We sent Chloe Ruthven to Germany to find out.
A Palestinian girl growing up in suburban Ohio is proud to receive an A- on her 9th grade genocide report. Later, grown up, she asks Can a fact be sad? I wish to know.
Karima Qias was seventeen years old when her family arrived at the Moria refugee camp, on Lesvos Island, Greece. She knew immediately that they had to get out to survive, and this is how they did it.
Protecting the forest is a responsibility that is not only of the Indigenous peoples, not only of the Huni Kui people. Protecting the forest, protecting biodiversity, is a responsibility of all of humanity.
Turkish artist Erkan Özgen documents a deaf, mute Syrian boy telling the story of what happened to him and others during the war in Syria.
In this addendum to the 14th piece in the Polity of Literature series the British film-maker Chloe Ruthven recalls her work helping teenage Afghani refugees make and circulate their own zine, Plaza Girls.
Lacking other resources, refugees and others on the move often use writing and reading together to site their politics. ArtsEverywhere editor Siddhartha Joag surveys some examples, from Myanmar to Uganda to Norway and Greece.
Artists can stage the encounter of the state with the refugees it presumes to judge. In this searching personal essay, Niels Bekkema, a Dutch artist working with the Polity of Literature series, recalls some of the ways that art and justice intersect and shed light on one another.
This addendum to the 10th piece in the Polity of Literature series describes the unique challenges of queer refugees telling their stories to bureaucrats who do not understand them.
When refugees arrive in Europe they must tell their stories to state bureaucrats who control their fate. But is the state capable of hearing what they have to say?
In 2013, when Australia began to detain refugees in off-shore prisons on Manus and Nauru islands, concerned Australians tried to help those held captive get their stories out. One, a recent immigrant from Iran called Moones Mansoubi, recalls that time and the talented writers she was able to help.