By the Book: The Importance of Reading Library Classification Systems

Written by Dr. Bridget Moynihan

Edited by Temi Lasade-Anderson

On a university or college campus, the library is used by every department and school. The library encompasses inter- and transdisciplinary resources, functioning as a place where collections of knowledge are stored and made available to use. While the above is true, these facts create an image of the library as neutral territory — a place where meaning passively resides — rather than as a site of active meaning-making. To accept this image without critique, however, would be to overlook both the importance and the problems of libraries.

Posted by admin

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.

Posted by admin

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.

Posted by admin

She Called Me Woman: Nigeria’s Queer Women Speak

Tomiwa Folorunso

Edited by Veronica Vivi

Illustration by Aaliyah Oshodi

‘Loving another person and that person loving me back – I do not see how that is a bad thing’ (Mohammed, Nagarajan and Aliyu 46).

Posted by admin

Basking in the Afterglow: Barry Jenkins’ ‘Moonlight’

Laura Hackshaw

Edited by Veronica Vivi

Artwork by Maia Walcott

Moonlight has been an unprecedented and much needed piece of art which transcends the basic categories and labels that accompany the ideals of it simply being a unique ‘independent’ movie or at its most reductive, a movie about what it is like to be a young, black, gay boy becoming a man. Moonlight is about running through doors with your eyes closed not knowing how to find your way to the other side. It is about the fear, the panic, the discomfort and the frustration of having to come to terms with your own identity when your identity itself is based on societies preconceptions and expectations of who you should be, how you should talk, walk and who you should love – all before understanding how to first love yourself. It is profound because it transforms and challenges common ideologies surrounding black male-hood; black male tenderness and affection, the redemptive power of mentors, music and community and how these all shape the people we become.

Posted by admin

More Than Just Blood: Bloodchild by Octavia E. Butler

Angie Spoto

Edited by Maria Elena Carpintero Torres-Quevedo

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

I hadn’t felt my baby move yet and wasn’t sure I wanted to. I confessed this to a friend in a café, who, bringing his hands together in front of his chest and clawing his fingers, said, ‘Yeah, it might feel, you know, like Alien.’ And his hands exploded outward, raining imaginary blood across our lattes.

My friend touched on a fear of mine: that having a baby would be like hosting an alien creature in my body. A fear no doubt inspired by my consumption of science fiction. Immediately, the prospect of pregnancy makes me think of the 1979 movie Alien, which undeniably plays out humanity’s pregnancy fears in the form of chest-ripping, murderous alien children. There’s also the ‘mystical pregnancy trope’: women in science fiction media are regularly forcibly or accidentally impregnated by aliens (Sarkeesian). This trope appears in Stargate SG-1, the X-Files, and Torchwood among other television shows and films.

Posted by admin

There but for the by Ali Smith

Allie Kerper

Edited by Ketaki Zodgekar

Illustration by Edith Pritchett https://www.instagram.com/edithpritchett_art/

Ali Smith’s novel There but for the tells the story of a man who, in the middle of a dinner party, locks himself in the spare room. The story unfolds over the course of the following year or so through the perspectives of four different characters whose lives the man, Miles, has touched in small ways. The characters whose voices comprise the story are Anna, an unemployed Scottish woman; Mark, a middle-aged gay man; May, an elderly woman with dementia; and Brooke, a 10-year-old Black girl. In each of their narrative turns, these characters reflect on experiences in their lives and how others perceive and react to them, giving the reader a rich and textured composite image of what human life can be in and around Greenwich, London in 2009-10. Smith’s novel marries realism and surrealism, satire and earnestness, and weaves it all together with wit and wordplay to create a compelling story of what it feels like to live in the political moment of the Recession.

Posted by admin

NOTHING OF WOMAN IN ME by Juliano Zaffino

Diane Lowman

Edited by Abigail Eardley

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

Often, the contemporary eye looks at Shakespeare’s plots and characters with a certain skepticism. No matter how timeless and universal the themes – the joy, the anguish, the love – we cannot help but wonder: how could a mother not recognise her own twins? Do those simple disguises really trick everyone? And perhaps most persistently for me, as Jerry Seinfeld would say, what’s up with all these women? Under the auspices of the patriarchal system in early modern England, female Shakespearean characters are often submissive, with few admirable exceptions: the Princess in Love’s Labours Lost and Beatrice in Much Ado About Nothing come to mind. Ultimately however, Kate in Taming of the Shrew and others like her, leave modern women shaking their heads.

Any author of fiction – and Shakespeare is no exception – asks an audience to momentarily suspend disbelief. In novels, films, and plays, ghosts walk, witches prophesize, and statues come alive. But still, that final question persists: what is up with all these women? In Nothing of Woman in Me, which debuted in February 2018 at the Shakespeare Institute in Stratford Upon Avon, and will be reprised in July at the RSC Dell, director and playwright Juliano Zaffino attempts to answer this question. Zaffino earned his MA in Shakespeare and Theatre from the Shakespeare Institute in Stratford Upon Avon, and will pursue his PhD there next year. As a gay man, he has first-hand experience of belonging to a marginalised group in society. By exploring the psyches of some of Shakespeare’s most complex and thought-provoking female characters, Zaffino hoped to give expression to all silenced populations by “capturing the voice of women throughout history and in our modern day, and unifying these voices through the vehicles of Shakespeare’s voiceless women.”[1] He “brought his experience to the table: my life as a gay man, the women who had raised me and whom I had grown up with, the reading and watching and listening I had done.” The dawning of the #MeToo era has offered a relevant and powerful backdrop for his work, having finally provided the opportunity for many muted female voices to whisper, speak, and shout above decades of oppressive abuse. No longer willing to suffer in silence as if that were the norm, women from professional, political, academic, and personal backgrounds are setting each other free by telling their truths. Women in Shakespeare’s time could not do that: but Zaffino imagines what it might have been like if they could have.

Posted by admin

INTERVIEW with LUCAS LAROCHELLE, founder of QUEERING THE MAP

Interview by Toby Sharpe

Editing by Abigail Eardley and Toby Sharpe

Could you start by explaining what Queering the Map does – and why you think it’s important?

Queering the Map is a community-generated mapping project, which geo-locates queer memories, histories, and experiences in relation to physical space using an online platform. Part of the idea is to open up the question of what constitutes queer space, or even more basically, what constitutes queerness. So, it’s a very open call in terms of submissions: whatever counts for the person submitting counts to the project and the process of queering space.

In the context of queer theory, there’s value in trying to unsettle what queer identity means. Queering the Map offers the opportunity for people to define what queerness means for them on their own terms, adding nuance to this term which can be endlessly changed and expanded – moving beyond a singular understanding of queerness, towards a collective understanding.

Posted by admin

Rift – a film by Erlingur Thoroddsen

Queering the void: how Erlingur Thoroddsen’s Rift transforms horror cinema

Miranda Wilkie

Edited by Abigail Eardley

Art by Raj Dhunna http://rajdhunna.co.uk/

TW: Sexual Violence

Horror cinema is a genre that, with its subversive and confrontational intentions, is arguably ripe for queer filmmaking: yet as a queer horror fan it is rare I find myself represented on screen. In many horror films, academic readings of character’s queerness are often reduced to subtext. While queer characters are admittedly not totally absent from horror cinema, their sexuality often forms the basis of the horror itself. Depictions of canonically queer characters tend to form two extremes: ironically mannered villainy or predatory perversity. A Nightmare On Elm Street 2: Freddy’s Revenge (1985) became a cult film with queer audiences due to its fairly explicit homoeroticism, including a high-camp portrayal of leather-clad ‘daddies’ in a gay bar. More recently, however, queer representation has shifted markedly. While visibility of queer communities within mass media increased at the turn of the century, the subsequent backlash from religious and conservative groups reignited the spectre of the sex-crazed, corrupting queer figure that first originated during the AIDS epidemic (Bronski, 99). Several New French Extremist horror films, such as Haute Tension (2003) and Irreversible (2002) exploited this undercurrent of fear, featuring characters whose same-sex desire is voracious and violent to the point of explicit homophobia.

Posted by admin

No more posts.