‘Queer Women Are Behaving Badly’ with Ayodele Olofintuade

Written by Inioluwa Ayanlowo

Edited by Veronica Vivi

Illustrated by Maïa Walcott 

Even in this day and age, the ideal Nigerian woman is a woman who is reserved, soft-spoken, and uninformed. She has made it her mission to remain calm and attractive to men, as she desires a successful marriage. While it can be tiring to constantly strive to satisfy the fragile male ego, she does not wish to be labeled as difficult: she has become so accustomed to being scrutinized for every detail of her persona that she simply wants to be accepted and does not wish to have to face life alone.

Add queerness into the mix and she will be condemned to always be in the background. After being constantly served homophobia with a side order of sexism, the Nigerian woman is content to just hide away and lead a life in the shadows. Ayodele Olofintuade taught me that sometimes you can dutifully follow society’s dictates and it still will not be enough to be accepted by it. So, as I was introduced to the Lakiriboto Chronicles at Ayodele Olofintuade’s 2021 Christmas Party, I understood the appeal of being a badly behaved woman. You can virtually be a mannequin and society will still find faults in you, so why not be badly behaved?

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Centring Pleasure Activism with adrienne maree brown

Written by Amuna Wagner

Edited by Veronica Vivi

Illustrated by Olamide Florence Adeoye aka Sharp Txngue

“How do we make social justice the most pleasurable human experience?” (back cover) asks adrienne maree brown in her phenomenal book Pleasure Activism: The Politics of Feeling Good (2019). Guided by its opening chapter, Audre Lorde’s “Uses of the Erotic: Erotic As Power” (27-37), the anthology explores a world that centres pleasure and care for ourselves and others. The book doubles as a collection of radical theories and a study guide of hands-on practice. I was living in Cairo in 2021 when I stumbled across a class on pleasurable feminisms; a group of people gathered weekly to intimately study the book, intrigued by brown’s question: “How can we awaken within ourselves desires that make it impossible to settle for anything less than a fulfilling life?” (back cover). Over the course of three months, Pleasure Activism: The Politics of Feeling Good reordered my world view and became my road map on how to live a consciously political life without guilt.

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Octavia Butler is in Defence of Failure: Kindred’s Black Grief as a New Dawn

Written by Alma Simba

Edited by Katya Zabelski

Illustrated by Sage Anifowoshe

I come to Dana through Saidiya. And Saidiya comes to Dana in relation to Venus. We all convene under a sky of grief particular to black women. Of the crushing weight of history. I pick up from where Saidiya leaves off. The archive, the futility, the resignation to language and history never being enough. Of failure as the new sky. But maybe also the new dawn.

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I come across Kindred by Octavia Butler in a reference by Saidiya Hartman’s 2008 article, “Venus in Two Acts.”  In the article, Hartman explores how the history of domination must be accepted by black people to try and untangle it. The article functions as a continuation of her earlier book, Lose Your Mother, where she charts the journey of the middle passage, loss, and connection to history. In “Venus in Two Acts,” Hartman continues this historical reconstruction and methodological struggle when she writes of a young girl who was murdered on a slave ship with little further information cited in the records. In both, Hartman highlights the difficulty in deciphering the blankness and violence in black historical narratives, while discussing the different options in the weighted obstacle of writing black history. 

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A UTOPIAN CURRICULUM PART FIVE: SUPERMAN

Written by Ibtisam Ahmed

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva

Before I delve into this part of the Utopian Curriculum series, I must offer some thanks. First and foremost, to the incredible team at Project Myopia for their patience and compassion for me as an individual. The past several years have been difficult for so many of us and it is encouraging to see a publication actually embody the ethos of care and utopianism that we collectively agreed to explore when this series was first pitched. It is rare and makes all the difference. Second, specifically to Maria Elena Carpintero Torres-Quevodo for your feedback and nurturing editing. It has been a real joy being asked to delve deeper into my thoughts in a way that was constructive and empowering. Third, to Iara Silva for your incredible artwork. Arresting visual media is a wonderful way to express complex thoughts – all the more relevant for this particular essay given the graphic nature of the source material.

And finally, to you dear reader, for sticking with this endeavour. It feels serendipitous offering my gratitude halfway through this curriculum, especially as so much has changed since it was first pitched. Part of this change is the actual source material itself. When I first included Superman as an example of utopia, it was a more generic take on the character and his history. But Superman has evolved since then and it is the specific take on his latest iteration – an openly queer child of a refugee with intentionally inclusive politics – that I will be exploring here.

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A moving image with an Instagram filter. The image was taken by the writer in Jamaica on their family's land. It is a beautiful landscape with rolling green hills and the ocean on the horizon, a beautiful blue sky with white clouds.

Communing with Dionne Brand’s At the Full and Change of the Moon

By Kamara Dyer Simms

Artwork by Kamara Dyer Simms

Edited by Hannah McGurk

Dionne Brand’s At the Full and Change of the Moon was the focal novel for my undergraduate dissertation on Black futurity, nonlinear temporality, and imagination. While I’m not convinced that diversifying the curriculum within the current academy has enough bearing on any decolonial or anticolonial work that disrupts the academy, I still meditate with how I’ve been gifted by this novel and my accompanying piece of scholarship — how the philosophy ritualistically grounds me as a scholar and creative, how the prose holds me tenderly and with fullness, and how the metaphors guide me to dream futures for myself and my loved ones “with no hope of gratitude or remembrance” (Brand 21-22). Brand’s prose is poetry, and communing with her work continues to move me to imagine beyond what the carceral and linear structures of time dictate.

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A UTOPIAN CURRICULUM PART FOUR: VOGUING

PART FOUR: VOGUING

By Ibtisam Ahmed

Edited by Maria Elena Carpintero Torres-Quevedo

Illustration by Iara Silva

As I continue to write this Utopian Curriculum series, it feels important to address questions raised from previous essays. In online conversations and email exchanges around parts two (Black Panther) and three (Sultana’s Dream), a particular point raised was whether something can be truly utopian if it is only positive and ideal for a specific demographic. It is apt, then, to dedicate part four to the art form of voguing.

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Unlearning British Biphobic Bias with “The Bi-ble”

Gemma Avens

Edited by Ketaki Zodgekar

Illustration by @worthdrawingwell

Unsurprisingly, most of the authors in The Bi-ble wrote of feeling silenced and isolated around their bisexuality, convinced that their struggles were unique to them. In fact, similar feelings are what led me to find the anthology and tear through it at breakneck speed. The Bi-ble discusses the authors’ experiences of bisexuality in Britain: of marginalisation, exploring their sexuality, and reclaiming their identity — finding power and joy in the process. The collection is an extremely valuable academic resource and one of very few books about bisexuality in Britain — bisexuality, here, being romantic or sexual attraction to multiple genders.

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Queer Phenomenology: ‘While Standing in Line for Death’ by CA Conrad

Clara Hancock

Edited by Ketaki Zodgekar

Illustration by Яachel Lee

‘We are time machines of water and flesh patterned for destruction, if we do not release the trauma.’ (CAConrad, 2017) 

CAConrad is a gender non-conforming poet and activist. I first came across their work in the 2018 Beatrice Gibson film I HOPE I’M LOUD WHEN I’M DEAD, which emphasises the necessity of poetry during the current American political crisis. Since discovering Conrad and their ‘(soma)tic’ bodily rituals, my own writing practice has been significantly altered, as I developed a deeper awareness of poetic embodiment. While Standing in Line for Death (Conrad, 2017) consists of 18 (soma)tic rituals, alongside poems that result from them. (Soma)tic poetics is a union of ‘soma’, a spiritual term derived from Sanskrit, meaning ‘to press and be newly born’ and ‘somatic’, the Greek term for the body. Conrad’s (soma)tic poetry investigates the space between body and spirit, and exposes the ways in which corporeality is integral to creativity, grief, expression and survival. ​The writing that emerges from these rituals repeatedly reminds us of the ways in which emotion is both bodily, cognitive, and a meeting point between the world and ourselves (Herd, 2017).

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Zero Patience

Eleanor Affleck

Edited by Ketaki Zodgekar

Illustration by Kirsty Kennedy

I came across John Greyson’s 1993 film Zero Patience: A Musical About AIDS in the first semester of my Queer History masters. I wanted to learn new approaches to public history with the aim of making LGBTQIA+ history and queer politics more visible. The film explored problems I was coming up against in my own practice as a historian, especially questions I began to form about how (and if) my work in institutions could relate to my activism. I think it is important watching for anyone involved in the field of history and museum studies.

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