Ursula K. Le Guin

The Word for World is Still Forest creates a space for the reader-as-exhibition-viewer to consider how forests may be seen not only for their trees, but also how they can enable experiences of elegance, affirmation, and creation for a multitude of creatures. in response to their violent destruction, which characterizes the Anthropocene, these pages traverse various woodlands by way of their semiotic, socio-political, historical, and epistemic incitements in order to reveal how practices of care, concern, and attention also enable humans to inhabit and flourish in this world as forest. Taking its title from Ursula K. Le Guin’s 1972 novella, The Word for World is Still Forest curates an homage to the forest as a turbulent, interconnected, multinature. Moving from concepts of the forest as a thinking organism to the linear monocultural plantations that now threaten the life of global forests, the volume includes interviews, a photo essay, case studies, reflections, drawings, essays and more.

Contributors: Sandra Bartoli, Kevin Beiler, Shannon Castleman, Dan Handel, Katie Holten, Elise Hunchuck, Silvan Linden, Yanni A. Loukissas, Eduardo Kohn, Pedro Neves Marques, Abel Rodríguez, Carlos Rodríguez, Suzanne Simard, Anna-Sophie Springer, Paulo Tavares Etienne Turpin, Catalina Vargas Tovar

Spells brings together thirty-six contemporary voices exploring the territory where justice, selfhood and the imagination meet the transformative power of the occult. These poems unmake the world around them, so that it might be remade anew.

With Kaveh Akbar, Rachael Allen, Nuar Alsadir, Khairani Barokka, Emily Berry, A.K. Blakemore, Jen Calleja, Vahni Capildeo, Kayo Chingonyi, Elinor Cleghorn, CAConrad, Nia Davies, Kate Duckney, Livia Franchini, Will Harris, Caspar Heinemann, Lucy Ives, Rebecca May Johnson, Bhanu Kapil, Amy Key, Daisy Lafarge, Dorothea Lasky, Ursula K. Le Guin, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Rebecca Perry, Nat Raha, Nisha Ramayya, Ariana Reines, Sophie Robinson, Erica Scourti, Dolly Turing, Jane Yeh.

Sad Sack is a book of collected writing by Sophia Al-Maria, taking feminist inspiration from Ursula K. Le Guin’s 1986 essay ‘The Carrier Bag Theory of Fiction’; opposing ‘the linear, progressive, Time’s-(killing)-arrow mode of the Techno-Heroic.’ Encompassing more than a decade of work, Sad Sack tracks Al-Maria’s speculative journey as a writer, from the first seed of her ‘premature’ memoir, through the coining and subsequent critique of ‘Gulf Futurism’, towards experiments in gathering, containing, welling up and sucking dry.

For me this book is a bag... Like any single-use carrier bag – I disapprove. It shouldn’t exist, it contributes to pollution, it should be banned... And yet, in spite of the fact I know this book may be a waste product... I’m still writing, redacting, expanding... I’m still waiting, wasting, wanting. According to Ursula, ‘It is a human thing to do to put something you want, because it’s useful, edible, or beautiful, into a bag.' – Sophia Al-Maria