by Arun Kumar / Rebel Politik
A raised fist in the foreground is chained in a wrist shackle with the image of Israeli flag superimposed over the shackle bracelet. Two raised fist holding Palestinian resistance scarf (with black-and-white keffiyeh pattern and Palestine flag on white fabric) on either side of the chained wrist are breaking the chains of shackles. In the background, two more raised fists are breaking the chains attached to the shackled fist in foreground.
The bracelet of the wrist shackle begin to break.
Release all Palestinian Political Prisoners text is written on top part of the image. The word, Palestine, has image of the Palestinian flag superimposed over it.
The Norwich Radical is non-profit and run by volunteers. You can help us continue our work by becoming a supporter. All funds raised help cover the maintenance costs of our website, as well as contributing towards future projects and events.
by Carmina Masoliver
When I was asked by a friend to think about the difference between being a professional artist and a semi-professional artist with regards to my own practice as a writer and a poet, the distinction between the two seemed – to quote author Daniel Piper – arbitrary and unnecessary. The word semi-professional is not something that has been in my vocabulary, because my ideas of professionalism go beyond the dictionary definition of these two words.
by Zoe Harding
Article contains strong language.
I went to a counter-protest last week.
Chances are you did too, if you’re reading this. The protest, by a group called Unity UK, was opposite the Norwich town hall and was probably against immigrants, although most of the people there seemed to think it was in favour of Brexit and one chap wanted to Drain The Swamp (an odd choice of slogan in a county that would be little more than Thetford and a lot of dry mud if we drained it, but I digress.) The counter-protest, on the other hand, was a who’s who of Norwich’s local lefties, turning up with drums, flags, megaphones and a generally good-natured if slightly intense demeanor, to stand opposite them and drown them out.Continue Reading
by Sara Harrington
This series aims to vocalise and explore the realities of working as a creative freelancer in a world of ‘9-5ers’. By collating a diverse array of stories from a variety of creative professionals, I hope to contextualise the working art world and give space to discuss what it really means to become your own boss.
The crisp air shocks my puffy, tired face into some form of waking existence. The dog lead wrapped twice around my arm tugs and tugs – the tiny tyrant at the end insistent on getting personal with some arbitrary, malodorous gatepost. Ignoring the hunger gnawing in the pit of my stomach, I trudge on, disgruntled dog in tow. During this morning ritual my brain races as it thinks of self-made deadlines, promotional schemes to send to art directors, and commissions I want to apply for. Each thought tugs and tugs until no answer is arrived at. With no definite plan of how to approach my working day I walk on, still in my pyjamas. My partner left for work ten minutes ago, climbing into their calamitous car and cajoling themselves into the forty-five minute commute to their day job. I am already at work.
by Eli Lambe
There is a new independent publishing house in Norwich. Seam Editions has already published some amazing pieces (seriously I am ashamed of everything I’ve ever written in comparison). Focusing on the emerging field of creative-critical writing, they provide a platform for interactive, experimental and formally disruptive writing. I was lucky enough to be able to sit down with four of the team to talk about the incredible progress they have made since their launch late last year. I met Sara Helen Binney, Sarah A. Jones, Simon Pook and Rob Ward at the Playhouse.Continue Reading
by Eli Lambe
How can you have anxiety and whatever
and read aloud to rooms.
How do you flinch at loud noises and not stares?
Speaker, the mind is unintelligible
and this unwell mind doubly so.
I do not hyperventilate this performance,
is this performing the cause.Continue Reading
by Hannah Rose
This is a missive from the past (June 3rd) to the future (June 10th). Futures are shady places where the detail is rubbed out; they nearly always keep us in darkness, because we saturate them in too much hope. Perhaps that’s where it all went wrong: we should have shone a finer light between hope and cynicism. In Back To The Future, Marty McFly asks his girlfriend:“What happens to us in the future? Do we become assholes or something?”Continue Reading
by Hannah Rose
Vote only once by putting a cross (X) in the box next to your choice. My ballot paper reads like a lover’s ultimatum: Leave or Remain. There is no room on my ballot paper to explain, negotiate with, mediate between. All dialogue between us has ended. Now there is only silence lingering like the smell of damp coats.Continue Reading
by Alice Thomson
Igminae a wlrod wree the wetrtin wrod is as hrad to raed as tihs. Imagine that written word is in your first language, not a second or third. Imagine the difficulty it presents every day, how others perceive you, how exhausting it is to read, and understand. Some of you reading this won’t have to imagine. This is the world of a dyslexic.
Often people think of dyslexia as word blindness, or even attribute it to a low intelligence score. When I was a Primary School teacher I often heard people referring to dyslexia as a “nice way of calling middle-class children slow”. This attitude horrified me. Many attitudes in school staff-rooms towards learning horrified me. As a child, I remember my mother would explain out to my teachers my dyslexia at every parents evening. The same teachers, every year, and it was always a surprise to them. As an adult and an educator, I had hoped attitudes had changed, but in my experience this is not the case.Continue Reading