Translated by Catherine Cobham
We love you, Europe. We love your art and hate your colonialist history, love your theatre and hate your concentration camps, love your music and hate the sound of your bombs
a journal of research & art
Translated by Catherine Cobham
We love you, Europe. We love your art and hate your colonialist history, love your theatre and hate your concentration camps, love your music and hate the sound of your bombs
Translated by Meg Matich
wet paper / tangled in birch branches / inside the window, smoking, / a woman with red hair / says to herself: / they can’t hear me anymore
Translated by Katrine Øgaard Jensen
Rain clouds and fox traces / newly-fledged birds / a pair of rotten cherries hitting the ground / an inevitable detachment, a dry release
Translated by David M. Smith
I kept my mouth shut and realized that Stovner was a very small place, and Tante Ulrikkes vei even smaller. I realized that in Stovner, people lived in houses on one side and housing on the other, and that the two were nothing alike, something that held true for Oslo just as much as the rest of the world.
Reviewed by Lee Douglas
Broad in scope and interdisciplinary in tone, the book examines the political, social, and symbolic lives of the bodies of Europe’s most singular tyrants, including Hitler, Franco, and Mussolini, who are placed side by side with analyses of other dictators and despots from Latin America, the Middle East, and Asia.
By Jonathan Bach
View Jonathans course syllabus for Migration of Memory at the New School.
By Dacia Viejo-Rose
The objective of this paper is to provide candidates with a sound knowledge about reasons for and ways of managing the past. During the course, candidates will develop a broad understanding of the diverse issues involved in heritage management, as well as an understanding of the types of agents and instruments involved.
Translated by Larissa Kyzer
My hands get no cleaner than an old bathtub. My fingernails are all clipped as short as possible, but the chemicals have managed to claw their way through the dead skin, into the bone. As if there’s no enamel.
Reviewed by Alison Sperling
Haraway engages the feminist techno-scientific thinkers and ideas that have always marked her work, as she stays with different sticky, murky, complicated practices and companions, laying out the ethical dilemmas presented on a damaged planet and making suggestions about how we are to navigate them.