August saw the five-year anniversary of Lauren Kaye’s ‘I’m All In’, a poetry collection described as a ‘seductive collection of romantic and sensual poems that speak on the inevitable episodes of love, sex and relationships’. The occasion was marked on social media – at a time where artists are forced to be more resourceful than ever when the stage is taken away. As Kaye outlines in the introduction, her poetry ‘is written much how I speak’, and it is best to have seen her live or see live videos so you can then hear her voice as you read coming through the pages.
by Laura Evans
Content warning: this article mentions homophobia
It’s been quite a week in Australian politics. You might have heard that the Turnbull government (a coalition of the centre-right Liberal Party and slightly further-right-but-mostly-rural National Party) have been debating marriage equality and have launched something called a postal-plebiscite. To understand why this is a Big Complicated Deal, we have to go back to 2004.
by Joshua Ekin
Content warning: mentions suicide, homophobia, Islamophobia, xenophobia, mass shooting, murder
A massacre in an LGBT+ space, by a Muslim, with a legal gun, and alleged connections to Daesh. It’s easy to see how contemporary American anxieties converge in the political aftermath of the Orlando shooting. The media response to this — the largest massacre in modern American history — exposes how truth is controlled by the present political regime.
For those who do not spend their days fretting about radical social discourse, homophobia can be difficult to define. Before Obama legalised same-sex marriage federally, it dominated the media conversation, establishing rights as the fulcrum of group empowerment. While the LGBT+ movement focused on this, statistics revealed that LGBT+ kids across the world were entering sex-work and committing suicide at an alarming rate. If such statistics were ever mentioned, it was to bolster marriage as the unequivocal endowment being denied to the LGBT+ community. The institution Australian Marriage Equality claims that the ‘higher rates of drug and alcohol abuse, homelessness, early school leaving, conflict with peers and parents and suicide ideation [are] all directly related to the discrimination.’ Marx might have called this ‘bridal false-consciousness.’
by Jess Howard
This week Tracey Emin – creator of the infamous My Bed piece – announced that she had married a rock. The press, understandably, reacted vehemently, with many rolling their eyes at Emin’s well-known performance artist ways, or mocking her for doing something so seemingly comical. What the press have failed to discuss is what Emin’s recent marriage, and the backlash she has received, has done for people who identify as objectum sexual.
I can’t wait to get out of these clothes and braid
our legs together, hold collarbones like fridge handles
and wait for the glow, then poke your dimples
like they are soft depressions on a hot cake.
I like Evie, for a girl. Rory for a boy. And I like the way
that you are everything, that you hold the world up
as a photograph of a photograph, or how you sing
when you re-enact The Lion King with the cat.
Borderlines is a collection of thought pieces, some creative, some direct accounts, some memoirs, all true. Borderlines collects stories from people who are not fleeing from one country to another, but rather chose to move, or were made to do so by a series of non-threatening circumstances. In these stories there is anger, hope, disappointment, joy, fear, optimism. They are all different, and yet all striking in their approach to the subject matter.
Borderlines aims to show the reality of migration, and how we are all, in our own way, migrants.
‘Everyone knows. The world knows. It knows. But they’ll never know, they’ll never know, they’re in a different world.’ — Harold Pinter, Betrayal
Look at the way you’re looking at me.
I upped the contrast and bleached my teeth.
I wanted to go for lunch next week.
I have pictures of him, a right Clooney.
We took an old canoe out to sea.
He came in my mouth and called me sweet.
He wondered if you’d like to meet.
You can tell he was raised by a proper family.
by Srishti Dutta Chowdhury
Disclaimer: Mentions female foeticide, abortion, and domestic abuse.
As part of the Vogue Empower project, that was initiated in October 2014, to commemorate the seventh year for Vogue in India, Homi Adajania’s video ‘My Choice’ features some prominent faces in the country of India. Besides Deepika Padukone, there’s Adjania’s wife, actress Nimrat Kaur, film critic Anupama Chopra, and Director Zoya Akhtar, among others.
The video went viral on social networking sites, such as Facebook and Twitter, in a matter of days — which is great news except it garnered negative criticisms everywhere. The reservation against the video by feminists and gender activists is understandable. According to a large number, while the video seeks to raise questions such as ‘If men can do what they want, why should women be deprived of the same right?’, it falls short of effectively addressing the question of women empowerment.