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Raven, a trans girl from south London, wakes on a piece of ice floating on a frozen ocean. Adap, who has lived his whole life in a dying village just off the coast, finds her and brings her home. When she is told she must travel to the Golie Mountains, at the center of the world, Adap volunteers to take her. Together they navigate around a resurgent soviet-esque state that is at war with an ancient culture of gender-wild shamans. As they travel, she realizes that there is no one in this magical world who is not black, like her, and that every place they go seems uncannily familiar.


Waking up Trans in the Wild

“I woke alone, in the wild. After five years of building a small self-sufficient paradise my partner needed to leave and I was left with foxes and owls for neighbours and it was here alone, beneath the stars, that I gave up trying to be a man.
I’m often asked if being here helped. Did the silence of the hills midwife my waking? Wouldn’t that be a romantic thought — that leaving society behind for the howls of the night creatures crumbles our social artifices, leaving us naked and real. That the wild strips away social shit like fierce wind blasts away stone leaving the core, twistingly beautiful, ferocious and true.”

Keep Reading

Howl of a Reluctant Hipster

“You can take away the passing fashions, retro facial hair shapes, beer cans curled up in beards, you can take that all away, let cutesters and norm-core and wave after wave of trends come faster and faster. Let it all come and go. Beneath it all; we’ll still feel a structural cultural emptiness. We’ll still crave authenticity.”

My latest article, “Howl of a Reluctant Hipster” is available on Medium


Poesia: um Bem Comum

Neste Dia das Letras Galegas estivemos na rua a recolher as palavras da gente. Depois, redigim um poema com todos os contributos. O poema é realmente do povo. O desafio do dia era fomentar a participaçom e criarmos um poema; no projecto assembleario espertamonforte! o desafio é fomentar a participaçom e criarmos um futuro. O primeiro foi um sucesso; o segundo, depende de Monforte.

Mais o próprio poema nom podia ser de carácter político, tinha de ser universal, de todos, por todos e para todos. Portanto, evitei empregar as poucas referências à política que forom propostas polos monfortinos: alguém escreveu que “a Monforte falta-lhe umha piscina pública” e, mesmo se em espertamonforte! concordamos com esta ideia, nom a utilizei.

In Galiza.

I bought this land without words. Witlessly I negotiated down the price of a house and land in a country I’d never heard of. I thought I was in Spain but Spain is an English word. I’d learned España from a book but España is a word for people who believe in España. I get ahead of myself. I, wielding the few Spanish short course words I had, stood before him speechless; my partner beside me with fewer words than I. The numbers I understood: quince mil, fifteen thousand, but he saw our doubt. With a faceful of weary wrinkles he blurted trece mil, thirteen thousand. He had some shrewdness to him. He’d allowed us to camp over on the land for a long weekend, clear our own paths in its wordless wildness and fall completely in love with it. And now he wanted us to buy it. Thirteen thousand euros is a good price. I didn’t know what to say. I stuttered and looked at Andru who shrugged. Sure; we’d probably take it for thirteen thousand. We probably would have taken it for fifteen; we were just nervous about committing there and then. I looked into the void for words; there was nothing. My tongue had been torn out; my mouth, hollow. The tools I was raised with to communicate were useless. This wrinkled, weary anarchist ready to be rid of the land panicked: doce mil, he said. Twelve thousand. I opened my mouth but nothing came out. He wrung his hands nervously and then, after a wordless pause, raised both of his hands, fingers splayed— each finger representing a thousand euros: diez mil. Ten thousand.
Shocked, we shook on it.
Continue reading “In Galiza.”

Barxa: Death in the Countryside

camus-plague “Nothing is less sensational than pestilence, and by reason of their very duration great misfortunes are monotonous. In the memories of those who lived through them, the grim days of plague do not stand out like livid flames, ravenous and inextinguishable, beaconing a troubled sky, but rather like the slow, deliberate progress of some monstrous thing crushing out all upon its path.” Albert Camus

A small official sheet of paper tacked to the market door announced his death. We would have completely ignored it like we ignore other births and deaths flowing around us but for one word caught in the corner of the eye: Barxa.
The market door provides news for this small rural town and all the hill hamlets that swirl around it. Our raggedy half-wild farm is one such satellite.
This was a death we had to investigate—we knew of this man. Our farm lies on a broken road falling away from a remote village. Beyond it is a foot-path to the broad river Sil and a crumbling abandoned village. This man was the last resident of that village, Barxa. With him goes its memories, stories and secrets. This was reason enough to investigate the death: to try and collect those words before they scattered into the wind and the river. As for the cause of death, we suspected plague. Not black death, nor bubonic nor pulmonary plague, but an unrelenting invisible pox devastating Galiza, the country we live in. And so my partner and I packed our bag for the journey. Continue reading “Barxa: Death in the Countryside”