In this courageous and powerful piece, Irenosen Okojie discusses the emotional abuse and exploitation Black women creatives have experienced in various arts industries and calls for greater accountability amongst white male perpetrators.
Angry at the sexual harassment women experience, Molly Williams began to paint something disturbing but powerful. The resulting painting, Bloody Barbarella, was her way of speaking back and subverting the violence of misogyny.
Artists Kat Cutler-MacKenzie and Ben Caro discuss their collaborative work, O.o.o.h! , a semi-pedagogic, semi-absurd investigation into the menstrual cycle inspired, in part, by the thought of philosopher Graham Harman and the photographs of Rafal Miłach.
Natalie Perman’s impressive debut poetry collection, Cataclysm, hails a new literary voice, one that deftly crosses multiple zones of experience and carefully explores the fragmentation of the Jewish diasporic experience.
Artist Yinka Shonibare curates a vibrant, magical and moving Summer Exhibition, one where a multiplicity of voices and artistic perspectives speak to the pain and progress of both past and present, writes Emily Walters.
Rym Kechacha reviews The Books of Jacob: a wonderful, huge and complex book that asks the reader to “turn our gaze away from the simple”, and instead embrace flux, transformation, and narrative that “sprawls like a great tree’s roots”.
Shameera Nair Lin talks to the National Poetry Prize winning poet Marvin Thompson about his musical inspirations, exploring British colonial violence and racism in his work, the lack of representation in nature writing and conquering poetic forms like the villanelle.
Our BAROQUE guest editor, Frankie Dytor, experiences a rush of dizzying and disorientating pleasure when reading two of Cipher Press’ books of fiction, Jess Arndt’s Large Animals and Alison Rumfitt’s Tell Me I’m Worthless.