We craft and tell stories because we’ve stood on the uncertain edge between the waking world and our imagination, between enchantment and fear. And we remember other stories that help us build our own stories, scraps of lumber and fragments of narrative we gather together to make stories for ourselves.
It is with great pleasure that we announce the publication of the newest book in our mythic arts series: The Museum of Shadows and Reflections by Claire Dean is a strange, troubling, and chillingly beautiful…Continue Reading
We are delighted to announce the release of a new issue of Unsettling Wonder, on the theme of Changelings. This issue represents a reboot of the journal, under the new lead editorship of Defne Çizakça.…Continue Reading
Our imaginations are easily caught up in new interpretations of these familiar stories, and it’s likely we’ll never stop reusing those tropes while we still retain them in our cultural memories. Join us in an interview with author Arielle K. Harris.
Aikaterini Gegisian, A Small Guide to the Invisible Seas (The Sea of Passions, 6) 2015, Collage on paper, 27.8 x 42.5 cm, Courtesy of the artist & Kalfayan Galleries, Athens-Thessaloniki
An interview with Aikaterini Gegisian by Defne Cizakca Part 2 of 2 Our second meeting took place in the summer. We met in Istanbul, at a bustling café in the neighbourhood of Nişantaşı. Aikaterini had…Continue Reading
“My appropriation of the term ‘Ottoman woman’ is an attempt to address a collective female body that has hardly ever been visible.” (Aikaterini Gegisian, Self-Portrait as an Ottoman Woman, Variation 2, 2012-2016 75 archival postcards 150 cm x 140 cm, Courtesy of the artist & Kalfayan Galleries, Athens-Thessaloniki)
An interview with Aikaterini Gegisian by Defne Cizakca Part 1 of 2 I met Aikaterini at wintertime, in a small amphitheatre at University College London where we were attending a masterclass on Ottoman Cosmopolitanism. In…Continue Reading
I discovered the woods by our house just as the year was turning.
I’d seen them before, of course. In any stroll along the pavement past the art school towards the conference center, looking across the brackish water of the reservoir, the woods were obvious enough. And I knew, in a vaguely academic way, that people sometimes went for walks in those same woods.
With the longest, darkest night of the year upon us, we wish you the joy of it. There’s a reason, I think, that so many cultures celebrate these nights—why such a cold, dark time is full of lights and laughter and merriment.
