To refer to The Other Side of Hope simply as ‘a literary magazine’ feels like an injustice. It is a beautiful, complex and painful collection of short stories, non-fiction and poems written and edited by refugees and immigrants. Having recently finished reading my copy, I find myself contemplating the journeys portrayed between the covers of the magazine days later. My mind wanders back to the melancholic ending of the fictional story ‘the Proposal’ by Qin Sun Stubis, or the heart-wrenching experiences of perpetual displacement, racism and otherness experienced by the protagonist of the poem ‘Engelestân’ by Kimia Etemadi. The Other Side of Hope is more than a magazine – it constitutes a tool for building empathy, for generating understanding, and an avenue through which to become immersed in the lives of refugees and immigrants for a brief, yet emotive period of time.
DOPE magazine – popularly dubbed ‘the anarchist Big Issue’ – is a quarterly newspaper published by Dog Section Press. It’s jam-packed with slick art, contemporary culture and radical ideas, and has featured content from the likes of David Graeber, Sleaford Mods, Molly Crabapple, Ruth Kinna and Benjamin Zephaniah (among many many others) – but not only is its content cool as f*#k, so is its growing social impact.
by Toby Gill
‘World peace’ is a staple for utopian theorists, science fiction writers, and beauty pageant winners. Sadly, an end to all international conflict still seems like a very distant dream. However, when it comes to war, for the last 60 years there has most definitely been an elephant in the room. Why are we all getting on so well?
Of course this is to say nothing of civil wars, hybrid wars, and grassroots violence, all of which remain (sadly) rife. But when it comes to wars between states, especially between great powers, we are living in the most peaceful era in recorded history. This is even more impressive considering that many were worried a third world war would immediately follow the second. So what’s going on?
by Toby Gill
Part of a new series exploring the concept and consequences of ‘free trade’ from a variety of perspectives. (Part 1 can be found here: How to Hunt the Stag: Power, Blackmail and Exploitation)
Let’s suppose I am the editor of a brilliant and highly successful politics and arts magazine (ahem). My magazine is so utterly brilliant that I believe it’s time to break into an international market. I’m aiming big – I want to sell my magazine in China. However, all manner of obstacles lie in my way. Firstly, there is the physical distance – my magazines have to reach the other side of the world. Next, I would need to alter the magazine to comply with Chinese laws and regulations (which could be completely unrecognisable, even if they weren’t written in a different language). Then I require the local infrastructure to advertise my product, a shop to sell it from, and local workers to operate this shop. Each of these steps will also require a translator, as will the translation of my magazine itself. I also need the Chinese State not to have any subsidies for local magazines that price me out of the market, nor quotas which restrict my sales. Finally, even once all this has been achieved, cultural differences may render my once gripping magazine totally uninteresting to locals.
In short, my magazine isn’t going to sell many Chinese copies any time soon.
by Jess Howard
Often, we start out with an initial opinion of a topic, event or article, and end up completely changing sides once we have engaged in an in-depth exploration, and this is exactly what has happened with an article I recently read.
In early May 2016, a particularly scathing opinion piece was written by Guardian journalist Jonathan Jones regarding the presence of magazine covers in gallery spaces. The article, titled ‘Kate’s Vogue shots shouldn’t be in a gallery. They’re not art.’ discusses Jones’ opinions on whether or not photographs of Kate Middleton have the right to be hanged in The National Portrait Gallery. Regardless of how we feel about the photographs, or indeed the monarchy, it does raise an important question. Namely, what constitutes high or low art, and what is deserving of exhibition space.