Interview with Professor Ngũgĩ Wa Thiong’o

Interview by Tanuj Raut

Edited by Rianna Walcott

Art by Maïa Walcott

I think that Greek mythology should be taught comparatively with African, Norse, Scandinavian, Icelandic and Asian mythologies. They are all very exciting and it is not necessary to put them in a hierarchical relationship to each other. Let them network.

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Moonlight

Fatima Seck

Edited by Maria Elena Torres-Quevedo

Art by Fatima Seck

In a year and a half of studying anthropology I’ve gathered one thing: apparently, LGBTQ folk do not exist.

With the exception of an optional reading about transgender sex workers in Brazil, and a discussion of the Vezo sarin’ampela, (described as men who live as and become women), I have not yet had the opportunity to learn about queer identities in my degree programme. Anthropology is a discipline characterised by breadth: quite literally anything can be studied anthropologically, and I appreciate that consequently, our studies must have certain limits and constraints. However I simply cannot accept that in the study of humanity — one guided by the question of what it means to be a person — LGBT+ identities do not have their rightful place. With the rise of incisive, beautiful and creative media by folks of marginalised backgrounds there is no shortage of content from which we can study queer folk, and I hope we can make these productions significant parts of our curriculum.

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Carpentaria

Curricular Dissonance:
Teaching English Literature as a Postcolonialist, or, the Power of Voice

Dr. Justine Seran

Edited by Maria Elena Torres-Quevedo

Art by Iara Silva https://www.instagram.com/iiaraz_/

I taught pre-honours literature at the University of Edinburgh for three years, and it never ceased to frustrate me, as a researcher specialised in contemporary literature, postcolonial criticism, and women’s studies, to expose future generations to the very curriculum centred on dead white men that I strove to escape by focusing my research on exploring (and celebrating) the work of living women of colour. Critiquing an antiquated curriculum and suggesting a wider breadth of reading to students during tutorials is one thing, but embedding diversity on the level of course design and organisation is another.

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Cooking Dinner for Adam Smith

Elizabeth Dietz

Edited by Rianna Walcott

Art by Arta Ajeti https://www.instagram.com/artawork/

“It is not from the benevolence of the butcher, the brewer, or the baker that we expect our dinner, but from their regard to their own interest”. Adam Smith famously asserted the rational features of man in The Wealth of Nations in 1776, and inspired a constellation of theories on Homo Economicus that would come to define the field of Economics.  Over two centuries later, journalist Katrine Marçal wonders if these claims hold true. In Who Cooked Adam Smith’s Dinner? (2016) she points out that Adam Smith in fact had his dinner made by his mother, Margaret Douglas. Why did she make her son dinner? Not simply because of rational self-interest, thinks Marçal, as she develops a feminist critique of economic rationality. What could this perspective add to how we understand the economy? Perhaps it is time Economics students found out.

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AKIRA

Tommy Zhang

Edited by Cristina Dodson Castillon, Toby Sharpe, and Rianna Walcott

Art by Iara Silva https://www.instagram.com/iiaraz_/

In July 1988, AKIRA’s release shook Japan. The ruinous violence, and brutal realism of the animation shocked moviegoers, and the film’s budget of ¥ 1.1 trillion was unheard at that time for an animated picture. Directed by Katsuhiro Otomo, the story is set after World War III in Neo-Tokyo. The film revolves around Kaneda and Tetsuo, members of a youth biker gang. After an accident, Tetsuo gains psychic powers and seeks retribution against all those who have wronged him. The Neo-Tokyo government, Kaneda, and his fellow psychics try to stop him before he finds his way to the imprisoned Akira, the source of his psychic powers and the catalyst of World War 3. The success and popularity set AKIRA as the ceiling of storytelling in all future Japanese animation; it was accepted by many that no animation would take its new throne.

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Launch Night Excerpts

Art by Priyanka Meenakshi https://www.priyankameenakshi.com/

We celebrated Project Myopia with a beautiful launch event towards the end of semester 2. It was a night of music and poetry, as well as an opportunity for some of our contributors to elaborate on their essays and ideas. Our performers touched on a wide range of serious issues: from the exclusion of racial minorities’ contribution to the canon of literature, to the oppressive nature of zero-hour contracts that prevent tutors from being able to fully engage in helping all students get ahead, let alone those from a minority background who need assistance most. We’re incredibly grateful to everyone who performed and shared their experiences, and we also have to thank everyone who attended and helped us drink the wine we provided! Project Myopia aims to bring marginalized people together and amplify their voices, and our launch felt like a perfect culmination of our semester’s work: people came together and shared their experiences of an academic world we need to change.

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The Whispering Trees

Joycelyn Longdon

Edited by Veronica Vivi

Art by Jazmine Sheckleford www.facebook.com/jasmineillustrations13

Abubaker Adam Ibrahim’s short story, ‘The Whispering Trees’, follows the spiritual awakening of protagonist Salim, a Nigerian medical student, after being rendered blind from a fatal car accident. Shortlisted for the 2013 Caine Prize for African Writing, this story stood out to me, with its ability to pair emotional familiarity with cultural insight and authenticity, raising personal questions on the compatibility or incompatibility of spirituality and religion. Seldom approached in Theology or Philosophy courses, the defeat of spirituality by religion and the ongoing practices of spirituality within the African community are subjects in need of more academic scrutiny.

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Stone Butch Blues

Ronan Karas

Edited by Karli Wessale

Art by Priyanka Meenakshi https://www.priyankameenakshi.com/

“Strange to be exiled from your own sex to borders that will never be home” (Feinberg, 19XX, pg. 11).

Leslie Feinberg’s words echo in my head. I think about how strange yet familiar the feeling is of finding a work of fiction that you relate to on such a deep and personal level. I’m a trans man and I first started transitioning two years ago, in which time I’ve searched libraries, websites, lists upon lists of queer authors and gender theorists, all in the search for an answer to a question I can’t quite put into words. I wanted to find an account of someone who felt like I did. When you’re straight and cisgender, your sexuality and gender are never called into question by the literature surrounding you, but when you’re trans or queer, your identity becomes academic. Something to be debated around a table of people who don’t identify as you do. As a friend put it: “Cis people have gender, trans people have gender identities.”

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‘A Vindication of the Rights of Women’ by Mary Wollstonecraft, and ‘Ain’t I a Woman?’ by Sojourner Truth

Mattia Ventre

Edited by Toby Sharpe

Art by Alice Markey

Two figures spring to mind as the key voices of feminism and women’s rights in modern history that every student should discover: Mary Wollstonecraft, and Sojourner Truth. In my experience, however, a undergraduate student would struggle to hear about these women fully in class, let alone appreciate the impact of their ideas on our society. Women’s experiences have been erased from our curricula, and great thought from women is denigrated even today.

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Quicksand

Sarah Thomson

Edited by Rianna Walcott

Art by Jazmine Sheckleford www.facebook.com/jasmineillustrations13

Despite taking courses titled ‘International Modernism’, ‘World Gothic’ and ‘Comparative Feminist Drama’, it wasn’t until enrolling in a ‘Black American Fiction’ seminar in the final semester of my degree that I was first assigned a text written by a woman of colour, Nella Larsen’s Passing (1929). Although I initially I felt guilt that I’d apparently chosen classes with so little diversity, I soon realised that Passing would have made a fitting addition to a range of courses I’d studied previously. A concise but complex novel, Passing packs articulate discussions of class, gender, sexuality and race into just over 100 pages. It’s an injustice to the quality of Larsen’s prose to see it pigeonholed into the category of ‘black’ fiction, rather than used to enhance a course on something else entirely. The fact that it took enrolling in a seminar built around race before it was addressed in one of my classrooms speaks to the prevailing issue of the erasure of minority voices in academe.

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