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.
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.
Anna Kate Blair talks to author Sara Jaffe about why Dryland is an anti-coming-out novel, writers who have influenced her work, being published by the Queer UK-based Independent publisher Cipher Press, leaning into the awkwardness of writing about adolescence, music and much more.
In Jayna Brown’s Black Utopias, Emma Hanson discovers that the speculative practices and philosophies of Black creatives destabilise current understandings of the ‘human’, ‘knowledge’ and ‘existence’, instead redefining them and envisaging futures past from the privileged position of the periphery.
Dancing milkmaids surround Krishna, but it’s not the Hindu deity they’re excited to be around. In Basudhara Roy’s gorgeous and erotically tinged poem, bodies undress and dissolve to the music of their own longing.
Frankie Dytor talks to writer, activist and curator, So Mayer, about their brilliant book, A Nazi Word for a Nazi Thing, writing as non-linear montage, actively creating the anarchive, the iconic figure of Magnus Hirschfeld, embodiment and more.
Emily Walters’ collage, Baroque Carnival Euphoria, is a gorgeously frothy pink concoction that celebrates the extravagance of Italian frescoes and the Carnivale di Venezia whilst also looking forward to contemporary neon street art and pop culture.
The 2019 Met Gala took inspiration from Susan Sontag’s renowned essay, ‘Notes on Camp’, but what of the less glamorous, closer-to-home forms of Sontagion camp? Here, Rebecca Savage looks at the queer origins of Coronation Street, its campy costumes and flamboyant characters.
Dryland is an ‘anti-coming out’ novel full of shifting surfaces and unplumbed depths, where the reality of relationships and queer desire are alluded to but never fully disclosed, writes Anna Kate Blair.