By Laura Potts
There is an obvious mythical essence to a number of the poems in Descansos, the new collection of poetry from Katherine Osborne, published by Salò Press, coupled with a flowing connection of the surreal which makes its way through each of the works, treading lightly on some and firmly on others. Throughout the poems, there is an unexpectedness of themes and figures, from God to Buffalo. This shift is sudden, like a stream of consciousness or a narrative story. Moreover, the pieces throughout this book seem to have been produced in a more automatic manner: repetition in titles, along with numbers and extended use of brackets. These automatic devices are sporadic and run parallel to themes of loss and nostalgia; both of which lead to a noticeable automatic writing style.
By Laura Potts
A real literary personality runs through the poems Anna Cathenka has cleverly curated and carefully linked in her new book they are really molluscs, recently published by Salò Press. In producing this collection, Cathenka notes that she drew on three Observer’s Pocket Books, and as a result each poem stands as if it could belong to a passage from a textbook, with references to strange organisms and a scientific rigidity of structure. We are offered an insight into the world of the Anna Cathenka, and a number of other strange worlds, through the unfamiliar and occasionally confusing lens of biological ocean life.
by Alex Valente
This past year has seen a global increase in horrible news stories. From the victory of the extreme right-wing in Brazil with Bolsonaro, to Italy’s rising black wave of fascism, to Russia and Turkey competing in totalitarian games, to the US and UK’s attempts to dehumanise the trans* community and migrants (no, there is no crisis), and the constant influx of horror that are the Trump administration and the Brexit shambles, we’re at a dangerous, terrifying, angering moment in history – and most mainstream media is complicit or silent.
I started one of our monthly emails in a very similar vein, back in October, and I’m sad to notice that not that much has changed since. Continue Reading
by Chris Jarvis
We return with a round-up of the best radical music from the past year!
by Carmina Masoliver
When I first saw Soltera Codiciada advertised on Netflix, its title was translated into English from Spanish as ‘How to Get Over a Break-Up’. The title drew me in for personal reasons, having had my long-term relationship end last year. The plot revolves around a heartbroken ad copywriter who begins blogging about her life as a single woman, whose writing pastime turns into a huge success. The English title bears little resemblance to the Spanish title, for which it was difficult to find a direct translation. A Peruvian comedy from Bruno Ascenzo and Joanna Lombardi, the original title shares the same name with the protagonist’s blog and when I asked around, the most likely meaning was as a positive description of a single woman. Infused with the spirit of Beyoncé’s Single Ladies, it is a film that allows us to laugh at the tragedy of lost love.
by Carmina Masoliver
There is a challenge when it comes to depicting figures that are as familiar to us as Freddie Mercury. First meeting a young Farrokh Bulsara, we are endeared to him from the onset, and taken into his world in a way that means we feel for him, even when he acts out later along the line.
by Ewa Giera
Content warning: xenophobia, discrimination
The Day of the Duck, by Helen Stratford and Lawrence Bradby, takes form of neither a scripted play, nor a novel: intertwined with visual diagrams, elements of script and a simple, character-driven narrative, the book is a unique experience as opposed to a traditional novel. The story revolves around a Muscovy duck, the last of its species in a town heavily based on Ely in Cambridgeshire, whose goal is to discover why its brethren have all disappeared. The book is framed as a noir detective-style plot – the Muscovy duck takes on the role of the detective and asks all the uncomfortable questions to people whose names it’s not concerned with, which serves the aim of having the characters translate as everymen.Continue Reading