‘Fuck you mean you need it?/ Fuck you mean you RSVPed?/ I don’t need a reason’ Ashnikko fires back at the retort women often get to be ‘asking for’ unwanted sexual advances through their choice of clothes. No holds barred, she spits out ‘his castration would be nice’, and the extremity and radical of her lyrics continues through the rest of her repertoire, creating both a humorous and empowering feel.
Why, 10 years after a crisis of capitalism that has entrenched inequalities and insecurity, does the left still struggle to convince a sceptical public that an alternative economics is possible? That question was the focus of one of several intriguing sessions at The Norwich Radical’s recent War of Words conference. A new report by the New Economics Foundation (NEF) attempts to answer it.
Framing the Economy argues that progressives need to spend less time discussing the detail of economic policy and more on telling simple stories about how the economy works that people can understand. The project grew from a recognition that the right has long been better than the left at presenting ‘common sense’ understandings economic mechanisms.
Saturday the 10th Feb 2018, a day that I will always remember. I had been invited to speak in relation to prison education and the arts. I was speaking to an audience alongside Jacob Huntley, a lecturer in English literature and creative writing from the UEA. I met Jacob whilst I was a serving prisoner at HMP Norwich. One of my roles at HMP Norwich was as an education mentor and I was told that there would be a new creative writing course starting, which would be facilitated by Jacob. I have always found that penning emotions onto a piece of paper allowed me to free my mind.
Are you looking for a way to get your voice heard? Do you have a book of poems on your bedside table that nobody ever reads? Isn’t it time somebody listened to you?
If you answered yes to any of these questions then you may be suitable for “Words w/ Friends Vol II”.
by Eli Lambe
Timeliness occupies this issue. Reflections on what queer writing has been and what it is now are shown through this collection to be vital, contemporary, and necessarily complex. The readings at the launch were accomplished, and the variety of writing spoke to the talents of the editing team in recognising and celebrating each piece. The pieces were arranged and selected to be complementary, to offer common threads and common goals, while still preserving the singularity of each piece – the queer writing here is collected as moments of solidarity, of community.
by Eli Lambe
The Underpass Anthology launch was a real testament to the work and co-operation evident in the newly student-run EggBox publishers – a packed celebration of new talent and potential, and a true contribution to the uniquely welcoming and encouraging style of the Norwich arts scene.
The anthology itself worked in the same way, amplifying both familiar and new voices, and bringing them together in a truly collaborative and beautiful book. The experimental and the traditional complement each other, and every writer and editor involved should feel immensely proud of themselves.
by Fern Richards
Over the past couple of years, the UEA Poetics Project has been doing the important job of sneaking radical poets into the institution without much fanfare. The Norwich Radical featured an article by Linda Russo fairly recently – one of the readers at the last Poetics Project event – but apart from that, not a huge amount has been written about these readings. As a fan of radical poetry, political poetry, anti-establishment poetry, I thought it might be worth giving a small preview of the second UEA Poetry Festival, or at least its featured readers, Sandeep Parmar and Sean Bonney.