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Issue Six

SEPTEMBER 2024

Fiction by Adania Shibli, Théo Casciani and Agnes Lidbeck. A philosophical review of the EU’s AI Act. An exploration of the past, present and future of photography, a pilgrimage to Persepolis & a lament for German carpets. A new appreciation of Jane Austen’s handiwork & a new understanding of a fairytale witch’s intentions.

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  • Interjections

    Valentin Kalinov

    Non-words for the remembered & unremembered violence of Bulgarian labor camps.

  • The Barren Nothing-Place

    Mia You

    On growing up in the creases of bilingual versions of T.S. Eliot’s The Waste Land

  • Blue memoir

    András Zoltai

    A water superpower runs dry. A photo series from Hungary.

  • Letters from Persepolis

    Werner Sollors

    On the ruined city’s pilgrims & decoders

  • Pixel War

    Théo Casciani

    Meet the strangest strangers, incels, conspiracy theorists, cyberpunks and Wikipedians.

  • Needle & pen

    Marisa Libbon

    Jane Austen valued fashion as an intrinsic part of one’s character — whether in her own life or in a novel.

  • Forage, farm, hunt

    Alex John Beck

    A photographer asks: why bother making photographs?

  • Down the mine shaft

    Christy Wampole

    A new book challenges the myth of photography’s immateriality.

  • Word War

    Adania Shibli

    A story about destruction: « In a matter of minutes, the target is neutralised, the word is erased. »

  • Without Cause

    Philippe Huneman

    « The exercise here is of a philosopher who would review the AI Act as a text. »

    ,

  • Am Boden

    Marc Lunghuss

    A story about eternity. « A fully glued-on carpet is an uncompromising rejection of the future, a denial of death. »

  • Animal game

    Agnes Lidbeck

    A story about family. « ‘A woman of few words,’ he smiled. ‘How refreshing.’ »

  • The Mothers Grimm

    Elina Nerantzi

    What ties Gretel to her witch? Louise Glück’s poem Gretel in Darkness provides answers.

  • Independence and/or Death

    Claire Debucquois

    Brazilian artist Jaime Lauriano recreated the iconic painting Independence or Death (1822). A scorched earth remains in his own Independence and Death (2022).