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Iman Mersal intricately weaves a new narrative of motherhood, moving between interior and exterior scapes, diaries, readings, and photographic representations of motherhood to question old and current representations of motherhood and the related space of unconditional love, guilt, personal goals, and traditional expectations. What is hidden in narratives of motherhood in fictional and nonfictional texts as well as in photographs?
Had this book been titled “How to listen” or “How to be all ears,” the title would have been appropriate to the content and directly explained the book’s focus. Why, then, does the title prefer to obscure its subject rather than reveal it, running counter to a title’s traditional function? This book is grounded in the experience of the unseen listener. Speakers are seen when they speak, whereas listeners recede into the background of the scene dominated by speakers.
This publication comprises a series of interviews with contemporary artists, musicians, and writers who are in dialogue with Beirut and Cairo. While not purporting to be an overview of the art scenes in these cities, this book begins to draw a picture of how artists think about what it means to be active in the contexts of these cities. It offers insight into the circumstances that structured these artists’ stories.
In this post-truth era, how does one navigate the endless information available and choose a viable narrative of reality? In How to Know What’s Really Happening Glasgow-based writer and curator Francis McKee looks at various techniques for determining verity, from those of spy agencies and whistle-blowers to mystics and scientists.
