image by Cas Stockford

Cas Stockford is a translator and poet living in Bristol. She works in the field of human rights and freedom of expression. // @cevirimiz

“Towards Metarchy Through Merz,” by Monica Belevan (@LapsusLima)

“Through this, Schwitters confronts us with a new sublimity borne not from the jarring remove of the unhomely, but from the immediacy of its abstraction.”

THE WEIGHT OF THINGS

MARIANNE FRITZ

TRANSLATED BY ADRIAN NATHAN WEST

(@DorothyProject)

“Inwardness is what eludes me.”

(dis/re)membered 15 – show home

The human body struggles to perform its identity in a domestic setting that is less stable than its physical features and rituals suggest.

Image by James Knight & currently on display in the Temporary Spaces exhibition at the Poetry Society Cafe in London. It has also just been published by Pamenar Press in the exhibition catalogue.



James Knight is an experimental poet and digital artist. His books include Void Voices (Hesterglock Press) and Self Portrait by Night (Sampson Low). His visual poems have been published in several places, including the Penteract Press anthology Reflections and Temporary Spaces (Pamenar Press). Chimera, a book of visual poems, is due from Penteract Press in July 2020. // @badbadpoet

“Broken Skin,” by F.E. Clark (within the issue linked above)

F. E. Clark lives in Scotland. She writes, paints, and takes photographs—inspired by nature in all its forms. A Pushcart, Best of the Net, and Best Small Fictions nominee, her poetry, flash-fiction, and short stories can be found in anthologies and literary magazines. More details can be found on her website, www.feclarkart.com. // @feclarkart

“Be Yourself Again,” a piece by Amina Cain about Jean Genet’s The Maids

“When I first read The Maids, I wasn’t interested in the idea of murder but in Genet’s highly charged representation of the two sisters, their crazed relationship to each other, as well as to their “Madame,” and in the depiction of class warfare in a domestic space. More recently, I’ve been thinking, too, about its mad circling of artificiality and authenticity, two sides of the same coin.”