The image shows the back cover of the book Paradise Rot. There is a pink filter over the image. The back cover features a white moth and pink print that looks like lichen. It has a blurb text that reads: "Jenny Hval creates a parallel world that's familiar but subtly skewed. As intriguing and impressive a novelist as she is a musician, Hval is a master of quiet horror and wonder." The blurb is by Chris Kraus, author of I Love Dick. There is a second copy of the book face-upwards beneath the main copy, and some drooping pink tulips in the top left hand corner of the image.

Culture Club: Reading PARADISE ROT by Jenny Hval

Selina Robertson Writing

By Hannah Hutchings-Georgiou. During the second lockdown, I started to reread Jenny Hval’s Paradise Rot. Looking to Hval’s novel, I wanted to see the beauty in it all, the thread of life holding it all together, the brownish stain of the rotting apple leading us outdoors, into light, into spring, into a reinvigorated and reconstituted sense of self.

Culture Club: Watching IT’S A SIN by Russell T. Davies

Selina Robertson Writing

By Annie Ring. Davies’ show robs Jill of ambivalence in a way that made me wonder how we can avoid our queer kinship relationships being complicit with neoliberal reductions of the state. Thinking through ambivalence, as I do below with reference to Roszika Parker’s feminist psychoanalysis, can help us by contrast to build more critical kinship for viral times.

Culture Club: Reading MISHANDLED ARCHIVE by Tara Fatehi Irani

Selina Robertson Writing

By Hannah Hutchings-Georgiou. One of my favourite images from Tara Fatehi Irani’s book, Mishandled Archive, is of a bride seated on the floor. She is very still, very quiet, but her eyes speak… She is gazing at her past; she is gazing at her future, at a future waiting, watching, approaching, soon to replace this moment.

Culture Club: Reading IT TAKES BLOOD AND GUTS by Skin & Watching THE FORTY-YEAR-OLD VERSION by Radha Blank

Selina Robertson Writing

By Jenny Chamarette I don’t think it’s a coincidence that It Takes Blood And Guts and The Forty-Year-Old Version have stuck with me while I experience my own mid-life inertia, as I reflect on the unseen power of my adolescent voice and look to rebuild my own creativity. And it makes sense to me to seek out the wisdom of Black women musicians and artists to do that.