Issue 7: Poem as a Journal

A collection of poetry reclaiming Catholic prayers and biblical passages to empower girls, women, and members of the LGBTQIA+ community. 

The extreme level of sass in Emily Austin’s Gay Girl Prayers does not mean that this collection is irreverent. On the contrary, in rewriting Bible verses to affirm and uplift queer, feminist, and trans realities, Austin invites readers into a giddy celebration of difference and a tender appreciation for the lives and perspectives of “strange women.”

Packed with zingy one liners, sexual innuendo, self-respect, U-Hauling, and painfully earnest declarations of love, this is gayness at its best, harnessed to a higher purpose and ready to fight the powers that be.

"Gay Girl Prayers offers a template for queer resistance to religious doctrine in revised Bible verses. Emily Austin has forged an unholy hymnal, a book of praise songs that shuck off stuffy Christian constraints to embrace instead unrepentant joy. She redefines Heaven not as a place for the puritanical, but rather a series of intimate moments between queer girls ‘who take lamps to one another’s bed chambers' and reimagines, through erotic apocrypha, divinity inclusive of ‘the curious… the closeted… the butches… the femmes… bisexuals, pansexuals… all queer trans people.’ Gay Girl Prayers is a renunciation of orthodoxy, a proclamation of queer solidarity, and a celebration of self-love."
—Evelyn Berry, author of Grief Slut and Buggery

HONEY is a zine meditating on the experiences of friendship. 

Volume 2 was edited by Mars Dietz, Opashona Ghosh and Dylan Spencer-Davidson—each inviting contributions from friends. 

Following vol. 1’s optimism about the underappreciated potentials of friendship, vol. 2 marks a noticeable turn towards friendship's messier sides. Letters to deceased friends, childhood social complexities, unrealised sexual desire, pushback against the overfetishisation of queer kinship, and more. 

Contributions from Azul De Monte, Ana Božičević, D Mortimer, Adriana Disman, Pelumi Adejumo, Iggy Robinson, Clay AD, To Doan, Edward Herring, marum, Lou Drago, Aisha Mirza, Iga Świeściak, Roya Amirsoleymani, George Lynch, Emily Pope and Kari Rosenfeld. 

Original artworks by Opashona Ghosh and Iga Świeściak, and featuring artworks by Azul De Monte and Emily Pope. 

Riso printed on recycled paper with Pagemasters (London).

Bricks from the Kiln is an irregular journal edited by Andrew Lister and Matthew Stuart, sometimes with guest editors, that presents graphic design and typography as disciplines activated by and through other disciplines and lenses such as language, archives, collage, and more. It borrows its title from the glossary notes of Ret Marut’s "Der Ziegelbrenner," which was the ‘size, shape and colour of a brick’, and ran for 13 issues between 1917 and 1921.

The latest installment, "#4: On Translation, Transmission & Transposition," was published as an event (and now) a publication, with events at London College of Communication, Burley Fisher Books & Pig Rock bothy, Socttish National Gallery of Modern Art, and Inga (in November, 2019).

GREENING
Helen Marten
(front / back flaps)

JOY & HAPPINESS, FIDELITY
& INTIMACY IN TRANSLATION
Sophie Collins
(pp.4–13)

PLANETARY TRANSLATION
Don Mee Choi
(pp.15–19)

TRANSLATION AND A LIPOGRAM:
OR, ON FORMS OF AGAIN-WRITING
AND NO- (OR NOT THAT-) WRITING
Kate Briggs
(pp.23–33)

UNHOMING (1 of 4):
FOLLOWING HÖLDERLIN’S ‘HEIMAT’
Phil Baber
(pp.35–47)

SNOW WHITE AND THE WHITE
OF THE HUMAN EYEBALLS
Joyce Dixon
(pp.51–62)

ALTAMIRALTAMIRALTAMIRA
Florian Roithmayr
(pp.65–116)

LEVEL UP, LEVEL DOWN
Jen Calleja
(pp.119–124)

TRANS.MISSION [A.DIALOGUE]:
A JAVASCRIPT FOR THREE VOICES
J.R. Carpenter
(pp.127–134)

THE MECHANISATION OF ART
Edgar Wind
(glosses / annotations / insertions by
Natalie Ferris & Bryony Quinn)
(pp.137–144)

UNHOMING (2 of 4)
Phil Baber
(p.147)

COMMISSION FOR A NOIR MOVIE
B IN THE BAY OF BISCAY
Rebecca Collins
(pp.151–157)

UNHOMING (3 of 4)
Phil Baber
(pp.150–162)

EVERY CONTACT LEAVES A TRACE;
TRANSCRIBING OSTEON
Naomi Pearce
(pp.165–170)

HOW DOES A WORK END?
Karen Di Franco
(pp.173–193)

METONYMY Op.1 & Op.2
James Bulley
(pp.197–201)

AFRIKAN ALPHABETS EXTENDED
Saki Mafundikwa
(pp.204–207)

SUSAN HILLER: 1983
Natalie Ferris
(pp.209–217)

EVERY TELLING HAS A TALING /
EVERY STORY HAS AN ENDING
Matthew Stuart
(pp.220–233)

GRAPHIC PROPRIOCEPTION
James Langdon
(pp.235–254)

UNHOMING (4 of 4)
Phil Baber
(pp.257–263)

TUNNELLING AND AGGREGATING
FOR DESIGN RESEARCH
Bryony Quinn (text) &
Peter Nencini (images)
(pp.265–272)

LET IT PERCOLATE:
A MANIFESTO FOR READING
Sophie Seita
(pp.275–280)

288 pgs, 22.4 × 17 cm, Softcover, 2020

Cadavres rassemble 13 poèmes écrits par Phœbe Hadjimarkos - Clarke sur les errances dans les villes âpres, les campagnes humides et les maisons branlantes. Les poèmes sont accompagnés de 15 dessins de Rozenn Voyer.

How to Sleep Faster 2 is the second of our biannually published journals that form the backbone of Arcadia Missa’ critical collaborative discourse on participation, post-digital visual-production and institutional subjectivity.This issue explores moments of collapse, shift and potential in a cultural moment framed by economic, political and societal disturbance.

Arcadia Missa Publication; eds Rozsa Farkas, Tom Clark et al.