Including essays about Madeline Anderson, Lorenza Mazzetti, Laure Prouvost, Ben Rivers & Anocha Suwichakornpong, Agnieszka Holland’s Spoor, Susan Sontag’s filmmaking career, Storm De Hirsch, Zia Anger, Ashley Connor, Bruce LaBruce, Pina Bausch/Chantal Akerman, Magdalena Montezuma, Rebecca Horn, Anne Charlotte Robertson, Zhu Shengze, Beatriz Santiago Muñoz, Maya Da-Rin, Camila Freitas, Gong Li

An in-depth Afro-Brazilian roundtable with Tatiana Carvalho Costa, Janaina Oliveira, Everlane Moraes and Kênia Freitas; sections on Kira Muratova and Anne Charlotte Robertson; essays on subtitles, diffractive cinemas, ecocriticism/the anthropocene, literary adaptations, intimacy coordinators, strike on film, representing the internet,

Interviews with Betzy Bromberg, Zia Anger & Ashley Connor, Brett Story, Amandine Gay, Andrea Luka Zimmerman & Therese Henningsen

Experimental criticism from Kathryn Scanlan, Jen Calleja and Elissa Suh.

What are Jewish lesbians thinking about? Writing about? Making art about now, here in the first two decades of the 21st Century? Do we see ourselves as Jewish dykes? Jewish lesbians? Genderqueer Jews? How are we thinking about our Jewish lesbian communities and families, natal or invented? How have our relationships to the states of Israel and Palestine changed over time? Can we reconcile the contradictions between our faiths and our politics? Our gender and racial identities? How do we envision our futures and reimagine our pasts, especially in these fractious and dangerous times? One thing is certain. Our commitments to making trouble and speaking up are strong.

This issue of Sinister Wisdom: To Be a Jewish Dyke in the 21st Century, which takes its title from that life-giving stanza in Muriel Rukeyser’s epic poem “letter to the Front”, is a gathering of answers, challenges, and opinions directed at these and other questions.

Featuring work by
Yael Mishali
JEB (Joan E. Biren)
Terry Baum
Joan Larkin
Susan Sherman
Clare Kinberg
Irena Klepfisz
Nancy K Bereano
Penny Rosenwasser
Bonnie Morris
Jyl Lynn Felman
Marla Brettschneider
And more!

Long, long before the Information Age ended, young Hildegard of Bingen finds beauty in the moral and spiritual ruins of her medieval world. In her forty-third year, she inscribes her cosmic visions into Scivias, an indescribably beautiful codex of writing and illuminations thought to be destroyed during the evacuation of Earth.

In a sea cave with cracked amethyst walls on Avaaz, Pinky Agarwalia discovers fragments of this visionary text containing hitherto unknown pathways to a lost vision of human co-existence with plants and non-humans - and the seeds of its rebirth on Avaaz.

Bursting with mythic quantum energy, Hildegard's vital linguistic potion viriditas, threaded throughout her communiqués, is a lush, verdant, renewable life-force. Her ecological message may be just the magic needed for rebirth on Avaaz. Hildegard's mystic toolkit for the future includes a cosmology, medicine, a morphology of crystals, recipes - and the symbols of a new language.

As Pinky Agarwalia traces the diagrams with her fingertip, she suddenly understands - a vision that appears without warning in her own mind - that she must first immerse these materials in water, a guarded substance. In the water, the molecules of the hidden language dissolve, freeze then reconfigure into new shapes, the crystalline language communicated not through sound but by feeling and light. Lingua Ignota, Hildegard's mysterious invented 'unknown language', arrives just in time for a world in flux, one whose coordinates are being recast.

Hildegard von Bingen (1098-1179), also known as Saint Hildegard and the Sibyl of the Rhine, was a German Benedictine abbess, writer, composer, philosopher, Christian mystic, visionary, and polymath. She is considered to be the founder of scientific natural history in Germany.

Huw Lemmey is a writer and publisher. He writes on culture, politics and sexuality, and is the author of the novels Chubz and Red Tory (Montez Press).

Dedicated to the incredible – and incredibly beautiful – publication Triple Jeopardy (1971–75, by the Third World Women’s Alliance), as well as the ideas in Sophie Lewis’s book Full Surrogacy Now! – Feminism Against Family (Verso, 2019). Ms Heresies 3 is reprinting the book’s final chapter, the essay *Amniotechnics.*

Each spread weaves edited material from Triple Jeopardy with Sophie Lewis’s essay. These intuitive and meticulous compositions are the outcome of looking at Triple Jeopardy through the lens of collaborative graphic design. Reading, typesetting, collaging, painting, and ornamenting became a way of designing together while attempting an homage, a re-reading, and a cross-publication friendship.

The second issue of MsHeresies includes collages, paintings, and hommages to the work of sisters Vanessa Bell and Virginia Woolf, whose collaboration defied preconceived ideas of both text/image hierarchies, as well as rivalry at the cost of sisterhood. This visual essay is published alongside William Morris’s lecture Useful Work versus Useless Toil from 1884 which introduces the idea of the ornamental and its relationship to work and rest.

The ornamental can only come about under certain conditions: enough rest, agency, and variation of work. The ornamental is never an outcome or product of these conditions; but something intrinsically intertwined therein.

The first issue of the Cahiers du centre national du graphisme, around the relationship between graphic design and feminism.

Speaking about Chaumont and its festival, Vanna Pinter once wrote rather modestly, “The graphic design faith has remained in dependable legitimate hands, the hands that ensure the transfer of power.” To act outside of those transfers of power, from a co-opting of use, is to run the risk of a possible delegitimization. Acting on the fringe, adopting another vantage point, is therefore not without its risks—in terms of territorial thinking—but must be an absolute in a global context.

At the second iteration of the International Graphic Design Biennial in 2019, we tackled a number of themes, from invisiblization with Silvia Baum, Claudia Scheer and Lea Sievertsen [Not a Muse], and the postcolonial question with Jonathan Castro, to transformations of capital and the repercussion on the economy of a discipline with Tereza Ruller [The Rodina], and the notion of commitment with Teresa Sdralevich. In that context we found many more allies than fans of a “Bingo du Male Tears.”

Opening this first issue of our periodical and titling it “A Feminist Issue” around the figure of Anja Kaiser is about approaching graphic design from a feminist, collaborative and co-constructionist perspective. It is a perspective that a number of others have joined here, including Anna Jehle, Juliane Schickedanz, Fabrice Bourlez, and Loraine Furter. The title of this issue implies another, such as “An other Feminist Issue” coming after “Another Feminist Issue,” for there are many voices and they require us to lend them an ear while being attentive and precise. Le Signe Design [LSD], designed by officeabc, is the periodical of a platform for production, distribution, creative support, dialogue, and mediation between the artistic field of graphic design and the public, what the National Center for Graphic Design is all about. Le Signe Design is not so much a communications forum as a new way to enter a field of study. 

Texts by Anja Kaiser, Loraine Furter, Fabrice Bourlez, Anna Jehle, Juliane Schickedanz.

Forty-five years ago movements of liberation made possible the birth of a new project in the world, the Lesbian Herstory Archives. In Sinister Wisdom 118 are some of the founding stories, telling what it meant to walk first into an apartment and later into a four-story limestone building, where shame became history, secrets became shared connections and complex lesbian, queer histories were enriched by maintaining intergenerational community.

A grassroots collection, the Archives was intentional about engaging with all facets and complexities of lesbian life, inclusive of diversity in race and gender-identity, from the bar life of the fifties and before, to the lesbian-feminist cultural richness of the mid-twentieth century and beynd, to the gender richness of the tweny-first. This issue honors an Archives that articulates the complexities of how lesbians make our way in the world.

How do lesbians live in the city, whether they live in the city by themselves or within intentional community? How does the city change what being a lesbian means? Sinister Wisdom 117: Lesbians in the City explores these questions--and many more.

The issue features creative work by: Srestha Sen, Carina Julig, Roin Morigeau, t pomar, Rita Mookerjee, Margarita Meklina as well as SPORTS -- a selection of work from the Southern Lesbian Feminist Activist Herstory Project, edited by Rose Norman and Merril Mushroom. Plus a great selection of new lesbian writing!

A Midsummer Night’s Press and Sinister Wisdom are pleased to announce the publication of Sinister Wisdom 102: The Complete Works of Pat Parker with a new introduction by poet and scholar Judy Grahn; an afterword by volume editor Julie R. Enszer, with extensive notes on the poems; photographs of Parker and a bibliography.

'In The Complete Works of Pat Parker, we have a trove of her artistic and political engagements-poetry and stories and plays and speeches; these are not separate realities. They intertwine in her now classic works, Movement in Black (1978), Womanslaughter (1978), and Jonestown & Other Madness (1985). But here too are less celebrated and uncollected works, plays especially, that show off Parker’s willingness to experiment, to push us towards more politicized realities.' - Alexis de Veaux

Included in Sinister Wisdom 102: The Complete Works of Pat Parker are Parker’s masterwork, Movement in Black, as well as Jonestown & other madness. Parker’s prose writing is collected in The Complete Works along with two unpublished plays and a number of previously uncollected poems. Editor Julie R. Enszer notes, “The breadth of creative output collected here demonstrates the seriousness of Parker’s overall work as a writer. Beginning in 1963, when she was nineteen years old, and continuing until she died in 1989, Parker took her work as a writer seriously. Gathering as much of it as possible into a single volume invites readers to take it seriously as well.”

A collection of anti-capitalist poetry, philosophy, cultural analysis, legal studies, manifesto and critique spanning 1996 to the present by Alenka Zupančič, Alexander Kluge, Amy Ireland, Anne Boyer, Aurelia Guo, Bini Adamczak, Carolyn Lazard, Chi Chi Shi, Denis Ekpo, Feminist Judgments Project, Gili Tal, Houria Bouteldja, Huw Lemmey, Keziah Craven, Marina Vishmidt, Nat Raha, Sarah Lamble, Teflon and Vanessa Place.

Divided we fall, but where do we land? This collection explores some of the grounds on which thinking and writing can begin again.
– Sadie Plant

Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography. Some write more than dance; others dance more than write. Some practice choreography explicitly; others implicitly. However varied the authors gathered here may be, the expansive field of performance produces all kinds of texts that deserve public recognition, a readership, and an infrastructure for feedback and editing. This issue is another attempt at making this possible.
 
With contributions by: Paula Almiron, Jani Anders Purhonen, Simon Asencio, Mélanie Blaison, Oda Brekke, Juan Pablo Cámara, Laura Cemin, Matt Cornell, Stina Ehn, Emma Fishwick, Lucija Grbic, Sara Gebran, Andreas Haglund, Hugo Hedberg, Alice Heyward, Madlen Hirtentreu, Eleanor Ivory Weber, Nikima Jagudajev, Sonjis Laine, Yoojin Lee, Denise Lim, Theo Livesey, Naya Moll, Caterina Mora, Rhiannon Newton, Zander Porter, Lena Schwingshandl and Stav Yeini.
 
Since its inception, This Container has hoped to contribute to a feminist lineage of textual production. What constitutes this lineage? This is a vast question. The beginning of an answer might start by saying something about genre. If , as Lauren Berlant writes, genre is an “aesthetic structure of affective expectation”, a “formalization of aesthetic or emotional conventionalities”, then genre crafts expectation by pointing to what is recognizable in form.1 If feminism is about wanting the world to be otherwise, the multiplication of genres inducing the multiplication of (imagined) stories helps to recraft expectation toward a less oppressive, less boring, and more just world. Feminist work includes genre work. Poetry, diary, diagram, notes, recipe, critique, the sound file, the epistolary, the essay, the art project: they have all found their way in, sculpting a diverse set of readerly structures of affective expectation. They are to shift your worldly expectations.

More info at http://www.thiscontainer.com

Issue Two includes: An Angela Carter Portfolio: Wolves in Fiction by Daisy Johnson, Pornography in Angela Carter by Arifa Akbar, and Angela Carter-inspired illustrations by Natalie Kay-Thatcher. Sharlene Teo on Qiu Miaojin. An interview with Dialogue Books publisher Sharmaine Lovegrove and her Ideal Bookshelf from Jane Mount. Fiona Lensvelt of Litwitchure on Pamela Colman Smith. Lucy Scholes interviews Posy Simmonds. A comic-strip profile of Veronica Santiago and Word-Up Bookshop by Ellen Lindner. Fiction by Sylvia Townsend Warner. Khaliah Williams of three generations of her family reading Jane Austen. And more! Cover photography is "A Study of the 'Katia Reading'" from the series "After Balthus - a Photographic Portrayal of the Paintings of Balthus" by Hisaji Hara.

23 × 17 cm, Softcover, 2019

On projection in three stories, four poems and a sequence of poems. Featuring illustrations by Birdie Hall.

First published: October 2019

This issue of Mal Journal considers projection, transgression and adolescence, bringing together texts that challenge received notions of innocence and moral reasoning. It features new fiction by Chris Kraus, Luke Brown and Natasha Stagg, poetry by Rachel Long and a sequence of poems by Sasha Dugdale.

On botany and eroticism in twelve essays, stories and poems. Published in collaboration with Serpentine Galleries.

First published: April 2019.

This issue of Mal Journal features an essay by Chloe Aridjis on Mexican flora and its foreigners, a sequence of poems by Bhanu Kapil, an essay on the sex lives of plants by Emanuele Coccia, a sci-fi story by artist Victoria Sin, a personal exploration of the queerness of gardening by Julia Bell, an essay on queer botanics by film critic Teresa Castro, a sequence of botanical nursery rhymes and artworks by artist, poet and gardener Alex Cecchetti, a new poem (and somatic poetry ritual) by CAConrad, an essay by writer and poet Daisy Lafarge asking ‘Can you be a revolutionary & still love flowers?’, excerpts from the Song of Songs and Ovid's Fasti V and Metamorphoses, and illustrations by Australian artist Yi Xiao Chen.

On transcendence in two essays, a short story and four poems. Featuring illustrations by Franz Lang.

First published January 2019.

This issue of Mal features Fiona Alison Duncan on a legal case interrogating the blurred lines between sex work and spiritual practice, a personal essay on trans pleasure by Gabrielle Bellot, a short story on the volatility of mortal love by Sheila Heti and a series of poems by Mary Ruefle.

Over three dozen c**ts of every size and description for you to color. Originally used for a sex-education class. Crayons not included.

Tee A. Corinne (born Linda Tee Cutchin), (November 3, 1943 - August 27, 2006) was an American photographer, visual artist, writer, and activist, whose published work includes the infamous (or justly famous) Cunt Coloring Book. She was born in St. Petersburg, Florida, and educated at Newcomb College, Tulane University; St. Petersburg Junior College (A.A. 1964); University of South Florida (B.A. 1965); and Pratt Institute (M.F.A., 1968), she became an outspoken advocate and activist for lesbian sexual, literary, and artistic expression. She grew up in the Southern United States and the Bahama Islands, went north to graduate school, and west to sort out her life in 1972. Married once for seven years, she spent the last twenty-five years of her life in the company of women. She began exhibiting and publishing art and writing in the mid-1960s. She was a co-facilitator of the Feminist Photography Ovulars (1979-1981) and a co-founder of The Blatant Image, A Magazine of Feminist Photography (1981-1983). She was the author of one novel, three collections of short stories, four books of poetry and numerous artists books and small edition publications. Family, her show of mixed media drawings about growing up in an alcoholic family, has been the subject of a video interview by Jane Scott Productions. Portfolios of her art have been published in Lesbian Subjects, Feminist Studies, Gallerie: Women's Art, The Advocate, Philadelphia Gay News, The Lesbian Inciter, I Am My Lover (first edition, 1979) and Femalia. Corinne wrote about art for a variety of publications and, from 1987, was the art books columnist for Feminist Bookstore News. A co-founder and past co-chair of the Gay & Lesbian Caucus (an affiliated society of the College Art Association), she also co-founded the Women's Caucus for Art Lesbian & Bisexual Caucus. In 1991, she was chosen by Lambda Book Report as one of the fifty most influential lesbians and gay men of the decade, and in 1997 she received the Women's Caucus for Art President's Award for service to women in the arts. According to Completely Queer: The Gay and Lesbian Encyclopedia,"Corinne is one of the most visible and accessible artists in the world." She died in Oregon, aged 62.

Making Connections is the fifth issue of Sinister Wisdom's series of work edited by the Southern Lesbian Feminist Activist Herstory Project, documenting the vital lesbian-feminist activism that proliferated in the US South during the 1970s, 1980s, and 1990s. Making Connections details the extensive networking of lesbian booksellers, publishers, writing groups, and newsletter through engaging interviews, first person narratives, and innovative graphic timelines.

First edition of the Engagement Arts Zine.

Published May 2019

As she tries to collect them for an essay that she is wanting to write, voices begin interfering in Clara’s Schulmann life. Voices of women, heard on the radio, in podcasts, songs, and films; voices of novelists or feminist theorists; voices of friends or of strangers overheard in the street. Like weeds, like bad seeds (what « zizanies » stands for in French), these wayward words invade her thoughts and her life, and the essay that she once had in mind unfolds in a picaresque tale full of twists and turns. Zizanies is a timely and elegant narrative that reveals Clara Schulmann as a new author whose own voice is going to matter in the years to come. (The texts in this book are French only.)

Matters of Feminist Practice, edited by Poupeh Missaghi and Karla Kelsey, brings together scholars, writers, poets, and artists of different identities and backgrounds to confer on the urgent topic of “feminist practice” through seven topics: the body, the quotidian, hybridity, language, documentation, environment, and conflict.

In the twenty-five scholarly and creative-critical pieces included in our introductory volume, each contributor brings unique visions, insights, approaches, voices, and forms to launch the conversation, which will continue to unfold online at mfpjournal.com. 

Contributors to the inaugural issue include: Alexis Almeida, Mary-Kim Arnold, Mildred Barya, Teresa Carmody, Julie Carr, Serena Chopra, Caroline Crumpacker, Lynne DeSilva-Johnson, Marcella Durand, Jennifer Firestone, Yanara Friedland, Carla Harryman, Madhu Kaza, Petra Kuppers, Jean Lee, Rachel Levitsky, Megan Madden, Saretta Morgan, Lida Nosrati, Adrienne Perry, Frances Richard, Kat Savino, Celina Su, and Rachael Guynn Wilson.

In the tradition of Baldwin’s Price of the Ticket, Pamela Sneed takes on the call to action to generously offer her own life experience of finding self and purpose with art, agency and celebration amidst and despite family dysfunction, abandonment, racism, sexism and belonging with joy, humanity, creative daring and a twinkle in the Big Apple to become an acclaimed writer in Downtown New York. This profound poetic journey of her keen and witty observations, revelatory experiences reveals a deeper truth of society and its discontents, that all combined weaves a tapestry with humor, grace and wisdom. Sweet Dreams is a profound memoir of courage, transformation and empowerment. This intimate embodied bold and tender tale calls to action for humanity to insist and create gestures of self-determination while taking a moment to pet the butterfly. —Karen Finley

Pamela Sneed is a New York-based poet, writer and performer. She is author of Imagine Being More Afraid of Freedom Than Slavery, KONG and Other Works and a chaplet, Gift by Belladonna*. Her work appears in Nikki Giovanni’s, “The 100 Best African American Poets.”

Samuel Ace’s / Linda Smukler’s Meet Me There is the third volume in Belladonna*’s Germinal Texts series—works that trace feminist avant-garde histories and the poetic lineages they produce. Meet Me There is a paired republication of Normal Sex (Firebrand Books, 1994) and Home in three days. Don’t wash. (Hard Press, 1996).

In the present edition, the texts are accompanied by a new introduction and poem by Samuel Ace, and by a collection of short essays and reflections on Ace and Smukler’s poetics by Cameron Awkward-Rich, Ari Banias, Kay Gabriel, Andrea Lawlor, Eileen Myles, Joan Nestle, Pamela Sneed, TC Tolbert, and Yanyi.

Meet Me There brings together Ace / Smukler’s remarkable explorations of the interplay of language, desire, sex, and identity, and repositions this work, 25 years later, in the midst of burgeoning contemporary conversations about gender, sexuality, sociality, language, politics, and poetics.