[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"website-detail-the-center-for-fiction":3,"facets-{\"includeAuthors\":\"false\"}":242,"facets-baseline-false":400,"similar-websites-the-center-for-fiction":430},{"id":4,"name":5,"slug":6,"url":7,"dateUpdated":8,"fetchedAt":9,"coverId":10,"coverMobileId":11,"coverWidth":12,"coverHeight":13,"coverMobileWidth":14,"coverMobileHeight":15,"descriptionEn":16,"seoMeta":17,"industry":20,"styles":24,"credits":37,"pages":43,"typefaces":100,"technologiesByCategory":111,"pagespeedDesktop":187,"pagespeedMobile":200,"performanceDesktop":190,"performanceMobile":202,"colorBuckets":206,"colorPalette":223},"e18eb8dc-f93d-40a8-8bc4-8af885d782a2","The Center for Fiction","the-center-for-fiction","https:\u002F\u002Fcenterforfiction.org","2026-05-23T19:23:58.000Z","2026-05-04T22:04:38.000Z","4557694c-6974-4fd0-b23d-3755c1d0daf2","6c76fe7a-ee1d-4b9a-a497-545a263475c7",1440,900,780,1688,"The Center for Fiction serves as a vibrant literary hub, dedicated to fostering a deep community of readers and writers. 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A Brutalist \u002F Neo-Brutalist, Typographic \u002F Big Type, Vibrant \u002F Colorful website in the Agency & Studio industry. Designed by Spring\u002FSummer. The overall color palette features Red, Black, Brown. Built using Craft CMS, Node.js, Nuxt.js, reCAPTCHA, SEOmatic, Vue.js. AI description: Spring\u002FSummer is a high-octane Copenhagen-based digital agency that blends strategic design with cutting-edge technology. The site serves as a bold manifesto for their capability in crafting impactful brand identities, sophisticated websites, and seamless eCommerce experiences, positioning themselves as a premier partner for brands seeking a competitive edge in the digital landscape. The visual identity is unapologetically loud and high-impact, characterized by a maximalist use of heavy, oversized typography and a high-contrast color palette. By utilizing massive sans-serif typefaces and a striking red-and-black scheme, the design communicates confidence and creative authority. The layout breaks away from traditional corporate minimalism in favor of a more visceral, editorial aesthetic that demands attention and signals a modern, trend-setting approach to digital craftsmanship.",{"id":553,"website_id":554,"page_id":553,"name":555,"slug":556,"url":557,"website_name":555,"website_slug":556,"website_url":558,"result_url":557,"fetched_at":559,"score":297,"score_boost":440,"ai_score":253,"freshness_score":560,"scored_at":561,"page_name":45,"page_url":557,"page_title":562,"page_description":104,"page_content":563,"page_sort":440,"is_home":446,"is_home_rank":447,"page_type_id":448,"page_type_name":50,"cover":564,"cover_mobile":567,"cover_sequence":569,"translations":573,"industry":576,"styles":577,"credits":579,"font_families":581,"technologies":582,"pagespeed":583,"pagespeed_mobile":589,"buckets":595,"search_payload":597},"70222d17-a6b4-4c97-b9d4-6dd375332982","da96d78d-f40a-4c03-b93e-43e4fdeb15a7","Plot Twist","pplottwistt","https:\u002F\u002Fpplottwistt.com\u002F","https:\u002F\u002Fpplottwistt.com","2026-05-23T19:23:26.000Z",100,"2026-05-23T19:24:13.000Z","plot twist","Info - _plot twist_ was initiated by Jo Kali and Georgie Sinclair in 2018. From 2018 - 2020 it was held at fanfare, but the third season, which begins in November 2020, will take place online. - We borrow from Sara Ahmed’s citation policy in _Living a Feminist Life_, in which she encourages us to view citations as (re)productive technologies – a tool that circumscribes the world around certain bodies. As such, we prioritise the work of women, trans, non-binary, queer, black, indigenous, POC, working-class, disabled, and other marginalised bodies in our resources and reading materials: “Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings.” Ahmed, _Living a Feminist Life_, p.16. - Announcements for our reading groups are sent to our mailing list every month, to which you must RSVP in order to participate. - There is a maximum of 12 spots for each session which are offered on a first come first serve basis. - All resources and materials are provided digitally prior to each session. - Meetings are held in English. - _fanfare_, our host venue for our in-person events and reading groups, is on the ground floor and wheelchair accessible. - _plot twist_ aims to offer a safe space for everyone involved. Any form of bigotry – racism, sexism, classism, homophobia, transphobia and ableism – is not tolerated, and you will be asked you to leave if you behave in a way that offends or upsets others. - See our community guidelines for more info on how we run things. - Occasionally, we organise public activities and events, which are announced via our social media channels. News July 13 2021 EMBRACING VALUE Max Haiven writes that western society is suffering a crisis of imagination, with the seamless spread of capitalism into every part of our lives. In the next and final session of the season, we are reading from the zine Radical Care: Embracing Feminist Finance, to challenge our thinking about money, explore ideas about finance that lie outside of our current economic paradigm, and think about how these may be put into practice. Within capitalism, economic systems impact us all yet they can often seem far removed or complex to the point of abstraction. For this session, you will need no prior knowledge of these topics as we will be learning together. We will look to hopeful models – such as open value cooperation and local currencies – to embrace different values, with a focus on locality, cooperation, and care. The zine asks the question: \"If you could break down one patriarchal structure within the current economic paradigm, which would it be and what would you replace it with?\" To answer this, we can look at suggested models from the zine and supporting texts, such as gift economies to social and artistic initiatives, to speculate on new ecosystems of value. Hosted by Kate Frances Lingard and Rebecca Gill Reading List July 2021 Radical Care: Embracing Feminist Finance Amateur Cities in collaboration with The Institute of Network Cultures News May 31 2021 BAD READER BAD READER\\ is an ongoing study group dedicated to exploring phenomenologies, politics, and practices of reading. The project is rooted in a desire to better understand our attachments and relationships to the textual form, and engage with wider questions around meaning, language, semiotics, citation, forms of writing, and alternative ways of knowing. In the first iteration of the BAD READER series, we will read Lydia Davis’ ‘Fragmentary or Unfinished’ from her latest essay collection Essays (2019), alongside a few passages from Roland Barthes’ The Pleasure of the Text (1973). Davis’ essay looks at the fragmentary text to ask questions about the idea of wholeness or completion in a work, and how the form lends itself to grief, thinking (as a process), incoherency, and the destruction of narrative. In The Pleasure of the Text, Barthes theorises on what it means to enjoy a text, insisting on the importance of developing an erotics of reading. It is also written in fragments ;-). \\BAD READER is a series of reading sessions organised by Jo Kali and Georgie Sinclair. It will be integrated periodically (as and when fit) into the plot twist programme between 2021-2022. Reading sessions are non-committal; you do not need to have participated in previous or plan to attend future iterations of BAD READER to join. We hope to share more information on the expanded programme soon. Reading List May 2021 'Fragmentary or Unfinished' from Essays Lydia Davis The Pleasure of the Text Roland Barthes News May 5 2020 THIS IS WHAT THE TRUTH FEELS LIKE \"it is often said that the internet is full of disinformation, but what is deemed disinformation in the eyes of one, is truthful and important information in the eyes of another. everyone should be able to establish their own truths. but at the same time, speaking for myself (Sarah), when people adhere to certain truths that i do not share (such as hard-core anti-vaxxers), i can become agitated or impatient. in this session, we will ask questions such as: what makes something ‘true’? what different types of truths exist? is it important to have shared truths? and when is it reasonable to try to correct someone’s personal truths?\" Hosted by Sarah Eskens Reading List May 2021 The State of the Fact The Believer w\u002F Morgan Parker & Rachel Khong Private Fears in Public Space Lida Maxwell The yoga world is riddled with anti-vaxxers and QAnon believers Cécile Guerin Seeking After Truth bell hooks If women are hesitant about the vaccine, it's because the health industry hasn't earned their trust Araw Mahdawi Why we can't have our facts back Noortje Marres News April 6 2021 TENDING RETREAT ‘I am becoming part of his vegetal network too.’- Rebecca May Johnson In this session, we will explore the utopian potentials of land cultivation: the possibilities and pitfalls of retreating to the garden. Since March 2020, desires for the bucolic escape of #cottagecore have filtered across the socials- images of gardening, allotments, and analogue forms of domestic living offering both an aesthetic respite, and a stark contrast, to the varied experiences of an urban lockdown. Looking at various forms of pastoral maintenance we will discuss the ways these texts use land to explore themes of care, escape, and community- in addition to problematising the political undertones these trends can gesture to. How might issues of land ownership, climate grief, and gendered forms of care intertwine in a desire to grow our own herbs? Hosted by Loren Ewart Reading List April 2021 The Disturbances of the Garden Jamaica Kincaid Qualities of Earth Rebecca May Johnson Why queer teens are embracing cottagecore i-D News March 2 2021 Collective reading and discussion of Unknown Language by Huw Lemmey & Hildegard von Bingen \"Long before the collapse of the Information Age, in the twelfth century since the appearance of the prophet Christ, young Hildegard finds grace. In this story of survival and miracles, Hildegard encounters love, both queer and divine, and great peril. As the visionary healer travels through the unfamiliar landscape following a great cataclysm, she discovers the mythic quantum energy of viriditas in the natural world around her. Her journey becomes one of return, to the sacred truth of her own being. Hildegard’s tale is received in the plague year of 2020 by Alice Spawls, and then in the next century, in a sea cave with cracked amethyst walls. On planet Avaaz, once known as Earth, Bhanu Kapil’s Pinky Agarwalia finds fragments of a beautiful codex. Lingua Ignota, Hildegard's unknown language, bears seeds of renewal for a world in flux.\" Reading List March 2021 Unknown Language Huw Lemmey & Hildegard von Bingen News February 19 2021 OUT NOW: PLOT TWIST II plot twist ii is an anthology of short stories and essays from the hosts of our 2019-2020 programme. Our work as a reading group is often intangible to those who don't participate in the sessions, so – in lieu of our intended public event last summer – we chose to produce something in print to share with a wider audience. plot twist ii includes: - meditations on privacy, work, failure, and friendship - a sci-fi tale in four acts - auto-theory on books that 'stick' - two essays on food and the cultural politics of disgust - sensory creative fiction on dizziness and giddiness - an illustrated guide on practicing empathy - extended reading lists of our reading groups 2019-2020 - a BEAUTIFUL A3 limited-edition riso printed poster With contributions from Andreea Breazu, Angelica Sgouros, Elisa Grasso, Georgie Sinclair, Jo Kali, Juliette Lizotte, Loren Ewart, Lucia Dove, Naomi Credé, Rosie Haward, and Sarah Eskens. Designed by Juliette Lizotte and Lucie de Bréchard. It would mean the world to us if you could support us and these small book shops by buying a copy! San Serriffe (@sanserriffe) in Amsterdam, NL Rile\\* (rile.space) in Brussels, BE Good Press(good.press) in Glasgow, UK News February 2 2021 REMEMBERING, BARELY Lowkey writing workshop focused on autobiographical memory-writing Writing memories can change our perception of how life was. Feelings we might feel somewhat estranged from in this state of locked-up “half-living”, such as shame, desire, joy and loss are mediated through the temporal distance from our ‘other selves’. In this session, by looking at different writers’ approaches to memory-writing, we will experiment with what it means to remember. How do we write our past selves? The way memories feel might change over time: seen from a distance, we can put memories into their political, class or cultural context, like scattered pieces of a puzzle. Hosted by Ida Blom Reading List February 2021 from The Happening Annie Ernaux from Cockroaches Scholastique Mukasonga from Childhood Tove Ditlevsen News January 6 2020 CRIP-TIME: BENDING THE CLOCK “Crip time is flex time not just expanded but exploded; it requires re-imagining our notions of what can and should happen in time, or recognizing how expectations of 'how long things take' are based on very particular minds and bodies. Rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.\" Alison Kafer In this session, we will think through the notion of ‘Crip Time’. Our brains and bodies all process and understand time in different ways, but for some people there is a heightened disparity between theirs and “regular” (often ableist) visions of time in daily life. In a culture where productivity and an attitude of “getting stuff done” is also a measure of self-worth, it’s important to recognise how these feed into and perpetuate the pathologization of people with disabilities. Being late, not finishing, sleeping too much or at irregular hours all spring from the same rigid and exclusionary sense that time is organised and experienced by everybody in the same way. Hosted by Elisa Grasso Reading List January 2020 Feminist Queer Crip Alison Kafer Six ways of looking at crip time Ellen Samuels The value of 'crip time': Discarding notions of productivity and guilt, to listen to the rhythms of our bodies Srinidhi Raghavan News December 8 2020 ATTENTION IS THE BEGINNING OF DEVOTION “Understand from the first this certainty. Butterflies don’t write books, neither do lilies or violets. Which doesn’t mean they don’t know, in their own way, what the …",{"id":565,"height":13,"width":12,"blurhash":566},"665e96c3-d671-4548-9d10-d438d44135aa","radial-gradient(at 0 0,#b3ac4e,#00000000 50%),radial-gradient(at 33% 0,#bfbba2,#00000000 50%),radial-gradient(at 67% 0,#eae98d,#00000000 50%),radial-gradient(at 100% 0,#efee00,#00000000 50%),radial-gradient(at 0 50%,#adb04f,#00000000 50%),radial-gradient(at 33% 50%,#aaaa8a,#00000000 50%),radial-gradient(at 67% 50%,#dbd974,#00000000 50%),radial-gradient(at 100% 50%,#e9e800,#00000000 50%),radial-gradient(at 0 100%,#b2b068,#00000000 50%),radial-gradient(at 33% 100%,#ceceb6,#00000000 50%),radial-gradient(at 67% 100%,#f3f49e,#00000000 50%),radial-gradient(at 100% 100%,#eeee00,#00000000 50%)",{"id":568,"height":15,"width":14,"blurhash":104},"5c09d851-04e7-4205-b5b7-d7cd8de6bf10",[570],{"directus_files_id":571},{"id":572},"e3f50637-5bc5-4157-bcf3-bbe4e3d3ba9f",[574],{"languages_code":529,"description":575},"Plot Twist is a vibrant digital hub serving as a literary collective, reading group, and alternative learning space. The website functions as a portal for creative intellectualism, bridging the gap between traditional publishing and modern internet-native community building. It positions itself as a sanctuary for readers and thinkers looking for unconventional educational experiences and curated literary content.\n\nThe visual identity is unapologetically bold, utilizing a high-contrast color palette dominated by a saturated electric yellow. The design leans into a neo-brutalist aesthetic, characterized by oversized, expressive serif typography and a raw, unpolished layout that prioritizes character over conventional corporate structure. This stylistic choice creates an immediate sense of artistic intentionality, appealing to a creative, avant-garde audience of writers, readers, and lifelong learners.","Art & Culture",[533,578,30],"Fun \u002F Playful",[580],"Ben West",[],[165],[584,585,587,588],{"score":193,"category":189},{"score":586,"category":192},83,{"score":560,"category":195},{"score":190,"category":198},[590,592,593,594],{"score":591,"category":189},94,{"score":586,"category":192},{"score":560,"category":195},{"score":190,"category":198},[596,212,208,220],"yellow","Website: Plot Twist. Page: Homepage. Page type: Home \u002F Landing Page. Page title: plot twist. Page content: Info - _plot twist_ was initiated by Jo Kali and Georgie Sinclair in 2018. From 2018 - 2020 it was held at fanfare, but the third season, which begins in November 2020, will take place online. - We borrow from Sara Ahmed’s citation policy in _Living a Feminist Life_, in which she encourages us to view citations as (re)productive technologies – a tool that circumscribes the world around certain bodies. As such, we prioritise the work of women, trans, non-binary, queer, black, indigenous, POC, working-class, disabled, and other marginalised bodies in our resources and reading materials: “Citations can be feminist bricks: they are the materials through which, from which, we create our dwellings.” Ahmed, _Living a Feminist Life_, p.16. - Announcements for our reading groups are sent to our mailing list every month, to which you must RSVP in order to participate. - There is a maximum of 12 spots for each session which are offered on a first come first serve basis. - All resources and materials are provided digitally prior to each session. - Meetings are held in English. - _fanfare_, our host venue for our in-person events and reading groups, is on the ground floor and wheelchair accessible. - _plot twist_ aims to offer a safe space for everyone involved. Any form of bigotry – racism, sexism, classism, homophobia, transphobia and ableism – is not tolerated, and you will be asked you to leave if you behave in a way that offends or upsets others. - See our community guidelines for more info on how we run things. - Occasionally, we organise public activities and events, which are announced via our social media channels. News July 13 2021 EMBRACING VALUE Max Haiven writes that western society is suffering a crisis of imagination, with the seamless spread of capitalism into every part of our lives. In the next and final session of the season, we are reading from the zine Radical Care: Embracing Feminist Finance, to challenge our thinking about money, explore ideas about finance that lie outside of our current economic paradigm, and think about how these may be put into practice. Within capitalism, economic systems impact us all yet they can often seem far removed or complex to the point of abstraction. For this session, you will need no prior knowledge of these topics as we will be learning together. We will look to hopeful models – such as open value cooperation and local currencies – to embrace different values, with a focus on locality, cooperation, and care. The zine asks the question: \"If you could break down one patriarchal structure within the current economic paradigm, which would it be and what would you replace it with?\" To answer this, we can look at suggested models from the zine and supporting texts, such as gift economies to social and artistic initiatives, to speculate on new ecosystems of value. Hosted by Kate Frances Lingard and Rebecca Gill Reading List July 2021 Radical Care: Embracing Feminist Finance Amateur Cities in collaboration with The Institute of Network Cultures News May 31 2021 BAD READER BAD READER\\ is an ongoing study group dedicated to exploring phenomenologies, politics, and practices of reading. The project is rooted in a desire to better understand our attachments and relationships to the textual form, and engage with wider questions around meaning, language, semiotics, citation, forms of writing, and alternative ways of knowing. In the first iteration of the BAD READER series, we will read Lydia Davis’ ‘Fragmentary or Unfinished’ from her latest essay collection Essays (2019), alongside a few passages from Roland Barthes’ The Pleasure of the Text (1973). Davis’ essay looks at the fragmentary text to ask questions about the idea of wholeness or completion in a work, and how the form lends itself to grief, thinking (as a process), incoherency, and the destruction of narrative. In The Pleasure of the Text, Barthes theorises on what it means to enjoy a text, insisting on the importance of developing an erotics of reading. It is also written in fragments ;-). \\BAD READER is a series of reading sessions organised by Jo Kali and Georgie Sinclair. It will be integrated periodically (as and when fit) into the plot twist programme between 2021-2022. Reading sessions are non-committal; you do not need to have participated in previous or plan to attend future iterations of BAD READER to join. We hope to share more information on the expanded programme soon. Reading List May 2021 'Fragmentary or Unfinished' from Essays Lydia Davis The Pleasure of the Text Roland Barthes News May 5 2020 THIS IS WHAT THE TRUTH FEELS LIKE \"it is often said that the internet is full of disinformation, but what is deemed disinformation in the eyes of one, is truthful and important information in the eyes of another. everyone should be able to establish their own truths. but at the same time, speaking for myself (Sarah), when people adhere to certain truths that i do not share (such as hard-core anti-vaxxers), i can become agitated or impatient. in this session, we will ask questions such as: what makes something ‘true’? what different types of truths exist? is it important to have shared truths? and when is it reasonable to try to correct someone’s personal truths?\" Hosted by Sarah Eskens Reading List May 2021 The State of the Fact The Believer w\u002F Morgan Parker & Rachel Khong Private Fears in Public Space Lida Maxwell The yoga world is riddled with anti-vaxxers and QAnon believers Cécile Guerin Seeking After Truth bell hooks If women are hesitant about the vaccine, it's because the health industry hasn't earned their trust Araw Mahdawi Why we can't have our facts back Noortje Marres News April 6 2021 TENDING RETREAT ‘I am becoming part of his vegetal network too.’- Rebecca May Johnson In this session, we will explore the utopian potentials of land cultivation: the possibilities and pitfalls of retreating to the garden. Since March 2020, desires for the bucolic escape of #cottagecore have filtered across the socials- images of gardening, allotments, and analogue forms of domestic living offering both an aesthetic respite, and a stark contrast, to the varied experiences of an urban lockdown. Looking at various forms of pastoral maintenance we will discuss the ways these texts use land to explore themes of care, escape, and community- in addition to problematising the political undertones these trends can gesture to. How might issues of land ownership, climate grief, and gendered forms of care intertwine in a desire to grow our own herbs? Hosted by Loren Ewart Reading List April 2021 The Disturbances of the Garden Jamaica Kincaid Qualities of Earth Rebecca May Johnson Why queer teens are embracing cottagecore i-D News March 2 2021 Collective reading and discussion of Unknown Language by Huw Lemmey & Hildegard von Bingen \"Long before the collapse of the Information Age, in the twelfth century since the appearance of the prophet Christ, young Hildegard finds grace. In this story of survival and miracles, Hildegard encounters love, both queer and divine, and great peril. As the visionary healer travels through the unfamiliar landscape following a great cataclysm, she discovers the mythic quantum energy of viriditas in the natural world around her. Her journey becomes one of return, to the sacred truth of her own being. Hildegard’s tale is received in the plague year of 2020 by Alice Spawls, and then in the next century, in a sea cave with cracked amethyst walls. On planet Avaaz, once known as Earth, Bhanu Kapil’s Pinky Agarwalia finds fragments of a beautiful codex. Lingua Ignota, Hildegard's unknown language, bears seeds of renewal for a world in flux.\" Reading List March 2021 Unknown Language Huw Lemmey & Hildegard von Bingen News February 19 2021 OUT NOW: PLOT TWIST II plot twist ii is an anthology of short stories and essays from the hosts of our 2019-2020 programme. Our work as a reading group is often intangible to those who don't participate in the sessions, so – in lieu of our intended public event last summer – we chose to produce something in print to share with a wider audience. plot twist ii includes: - meditations on privacy, work, failure, and friendship - a sci-fi tale in four acts - auto-theory on books that 'stick' - two essays on food and the cultural politics of disgust - sensory creative fiction on dizziness and giddiness - an illustrated guide on practicing empathy - extended reading lists of our reading groups 2019-2020 - a BEAUTIFUL A3 limited-edition riso printed poster With contributions from Andreea Breazu, Angelica Sgouros, Elisa Grasso, Georgie Sinclair, Jo Kali, Juliette Lizotte, Loren Ewart, Lucia Dove, Naomi Credé, Rosie Haward, and Sarah Eskens. Designed by Juliette Lizotte and Lucie de Bréchard. It would mean the world to us if you could support us and these small book shops by buying a copy! San Serriffe (@sanserriffe) in Amsterdam, NL Rile\\* (rile.space) in Brussels, BE Good Press(good.press) in Glasgow, UK News February 2 2021 REMEMBERING, BARELY Lowkey writing workshop focused on autobiographical memory-writing Writing memories can change our perception of how life was. Feelings we might feel somewhat estranged from in this state of locked-up “half-living”, such as shame, desire, joy and loss are mediated through the temporal distance from our ‘other selves’. In this session, by looking at different writers’ approaches to memory-writing, we will experiment with what it means to remember. How do we write our past selves? The way memories feel might change over time: seen from a distance, we can put memories into their political, class or cultural context, like scattered pieces of a puzzle. Hosted by Ida Blom Reading List February 2021 from The Happening Annie Ernaux from Cockroaches Scholastique Mukasonga from Childhood Tove Ditlevsen News January 6 2020 CRIP-TIME: BENDING THE CLOCK “Crip time is flex time not just expanded but exploded; it requires re-imagining our notions of what can and should happen in time, or recognizing how expectations of 'how long things take' are based on very particular minds and bodies. Rather than bend disabled bodies and minds to meet the clock, crip time bends the clock to meet disabled bodies and minds.\" Alison Kafer In this session, we will think through the notion of ‘Crip Time’. Our brains and bodies all process and understand time in different ways, but for some people there is a heightened disparity between theirs and “regular” (often ableist) visions of time in daily life. In a culture where productivity and an attitude of “getting stuff done” is also a measure of self-worth, it’s important to recognise how these feed into and perpetuate the pathologization of people with disabilities. Being late, not finishing, sleeping too much or at irregular hours all spring from the same rigid and exclusionary sense that time is organised and experienced by everybody in the same way. Hosted by Elisa Grasso Reading List January 2020 Feminist Queer Crip Alison Kafer Six ways of looking at crip time Ellen Samuels The value of 'crip time': Discarding notions of productivity and guilt, to listen to the rhythms of our bodies Srinidhi Raghavan News December 8 2020 ATTENTION IS THE BEGINNING OF DEVOTION “Understand from the first this certainty. Butterflies don’t write books, neither do lilies or violets. Which doesn’t mean they don’t know, in their own way, what the …. A Brutalist \u002F Neo-Brutalist, Fun \u002F Playful, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features Yellow, Black, White, Gray. Built using PHP. AI description: Plot Twist is a vibrant digital hub serving as a literary collective, reading group, and alternative learning space. The website functions as a portal for creative intellectualism, bridging the gap between traditional publishing and modern internet-native community building. It positions itself as a sanctuary for readers and thinkers looking for unconventional educational experiences and curated literary content. The visual identity is unapologetically bold, utilizing a high-contrast color palette dominated by a saturated electric yellow. The design leans into a neo-brutalist aesthetic, characterized by oversized, expressive serif typography and a raw, unpolished layout that prioritizes character over conventional corporate structure. This stylistic choice creates an immediate sense of artistic intentionality, appealing to a creative, avant-garde audience of writers, readers, and lifelong learners.",{"id":599,"website_id":600,"page_id":599,"name":601,"slug":602,"url":603,"website_name":601,"website_slug":602,"website_url":604,"result_url":603,"fetched_at":605,"score":606,"score_boost":440,"ai_score":607,"freshness_score":608,"scored_at":609,"page_name":45,"page_url":603,"page_title":601,"page_description":104,"page_content":610,"page_sort":440,"is_home":446,"is_home_rank":447,"page_type_id":448,"page_type_name":50,"cover":611,"cover_mobile":614,"cover_sequence":616,"translations":626,"industry":576,"styles":629,"credits":631,"font_families":633,"technologies":634,"pagespeed":636,"pagespeed_mobile":643,"buckets":648,"search_payload":650},"cf9f198b-d6ac-4ca6-a7eb-d14d9f6c4fc2","f9fbdbd5-d5d4-450b-8457-f6edaab30558","Face Forward","face-forward","https:\u002F\u002Ffaceforward.typography.ie\u002F","https:\u002F\u002Ffaceforward.typography.ie","2026-05-04T09:21:59.000Z",84,86,74,"2026-05-23T19:09:49.000Z","_Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …",{"id":612,"height":13,"width":12,"blurhash":613},"ee6ba0b9-978f-4682-94f5-f10503f98584","radial-gradient(at 0 0,#babaff,#00000000 50%),radial-gradient(at 33% 0,#7878ff,#00000000 50%),radial-gradient(at 67% 0,#b2b2ff,#00000000 50%),radial-gradient(at 100% 0,#dfdfff,#00000000 50%),radial-gradient(at 0 50%,#bfbfe8,#00000000 50%),radial-gradient(at 33% 50%,#a2a2e1,#00000000 50%),radial-gradient(at 67% 50%,#c6c6ed,#00000000 50%),radial-gradient(at 100% 50%,#dedef7,#00000000 50%),radial-gradient(at 0 100%,#b4b4e6,#00000000 50%),radial-gradient(at 33% 100%,#9c9cf7,#00000000 50%),radial-gradient(at 67% 100%,#b3b3f5,#00000000 50%),radial-gradient(at 100% 100%,#cbcbed,#00000000 50%)",{"id":615,"height":15,"width":14,"blurhash":104},"d4e07c88-6674-4460-9621-b66d952ea4f3",[617,620,623],{"directus_files_id":618},{"id":619},"b5f1f613-ecd9-4c14-8e2d-8bfcb012ccc8",{"directus_files_id":621},{"id":622},"2a247199-2226-423a-9962-6fd931df0026",{"directus_files_id":624},{"id":625},"09fdf48e-0b65-4ae6-bda7-9f4e6eb98664",[627],{"languages_code":529,"description":628},"Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry.\n\nThe visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. Through a striking combination of electric blue and stark monochrome, the design employs massive, experimental letterforms and a rigorous grid system. The layout is unapologetically structural, using scale and negative space to create a sense of intellectual authority and avant-garde elegance.",[26,630,30],"Monochrome \u002F Grayscale",[632],"Bong",[377],[145,165,635],"Three.js",[637,639,640,642],{"score":638,"category":189},99,{"score":253,"category":192},{"score":641,"category":195},96,{"score":308,"category":198},[644,645,646,647],{"score":294,"category":189},{"score":275,"category":192},{"score":641,"category":195},{"score":308,"category":198},[208,649,212,220],"blue","Website: Face Forward. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Face Forward. Page content: _Face Forward_ is an international peer-reviewed conference focused on typography that seeks to examine design and typographic practice, and to make explicit existing connections between craft, research, theory, history, criticism and pedagogy. This conference aims to provoke informed, rigorous and critical debate on aspects of typographic research and practice that relate to current discourse and contexts. It is the inaugural event in what will become an annual international conference. This year’s conference is supported by ID2015 Year of Irish Design and the Dublin Institute of Technology. In the field of visual communication and typographic practice, a great deal of epistemological uncertainty still exists. As a consequence, concrete theoretical or methodological positions around which the discipline could cohere have yet to emerge—a situation this conference seeks to address. The conference will provide a forum for research into typographic production, representation, dissemination and use. It encourages interdisciplinary enquiry; thus we welcome papers dealing with typography in all its forms, material and immaterial. We encourage submissions that consider typography in as broad a sense as possible, that celebrate the vitality and range of typography and which seek to expand definitions of both typographic object and practice. – Registration is now open. In partnership with: Identity by Clare Bell and Brenda Dermody. Site by BONG and Post Friday track a - 9.00 _Registration_ – - 10:00 Tom Spalding _Show me the way to go home! Eighteenth and early-nineteenth century lettering and public signage, Cork City, 1730–1840_ – - 10:30 Elena Veguillas _Architectural lettering and corporate identity, early branding on commercial buildings: the Truman’s case_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Ann Bessemans _Type design features for children with low vision_ – - 12:00 Luciano Perondi, Giulia Bonora and Daniele De Rosa _Pass — augmentative and alternative communication_ – - 12:30 Silvia Barbero and Irene Stracuzzi _Sustainability for typography design processes_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Hilary Kenna _A practice-led study of design principles for screen typography: with reference to the teachings of Emil Ruder_ – - 14:45 Tom Grace _The alluring trap of vector-based drawing_ – - 15:15 Marcus Leis Allion _Typrograms: The Shaped Typography of Computer Programs_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Amy Papaelias _Future displays: towards a history of type specimens in digital environments_ – - 16:45 Mathieu Lommen _Lettering artists’ model books_ – - 17:15 _Discussion_ – - 17:30 _Close_ – track b - 9.00 _Registration_ – - 10:00 Marcus Swan _Meaning without words: the emoji revolution_ – - 10:30 Johannes Bergerhausen _Digital cuneiform_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Aoife Mooney _Super-charged type: An investigation into the potential for a dynamic typeface family modelled on axes of typographic expression_ – - 12:00 Siobhán Murphy _Print, Pixel and notions of Legacy — recalibrating Harold Innis’ time-binding and space-binding communication technology theories for a post-digital age_ – - 12:30 Cathy Gale _This is your life: the multiplicities of X_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Sheena Calvert _Punctuating Philosophy_ – - 14:45 Pavel Pisklakov _Typography and Media: History of Evolution and Contemporary Tendencies_ – - 15:15 Kyle Rath _Form vs. Fame: exploring the craft of typographic selection_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Robin Fuller _Linguistics, grammatology, typography_ – - 16.45 – _–_ – - 17:15 _Discussion_ – - 17.30 _Close_ – - 19:00 Tobias Frere-Jones _Keynote_ – track c - 9.00 _Registration_ – - 10:00 – _–_ – - 10:30 – _–_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Diederik Corvers _The architect’s new face_ – - 12:00 María Pérez Mena, Eduardo Herrera Fernández and Leire Fernández Iñurritegui _An artistic approach to typography from Eduardo Chillida’s graphic language_ – - 12:30 Naoise Ó Conchubhair _An Post: typography rooted in the past — ahead of its time_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 – _–_ – - 14:45 Dermot McGuinne _Accident by design_ – - 15:15 Teresa Breathnach _Matthew Walker: nationalist printer 1846–1922_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Richard McElveen and Pauline Clancy _Typographic DNA of place_ – - 16:45 Michael Everson _Authenticity and Ireland’s tradition of Gaelic type_ – - 17:15 _Discussion_ – - 17:30 _Close_ – Saturday track d - 9:00 Aspasia Papadima _Introducing a new set of typographic characters for the representation of Greek-Cypriot dialect’s distinct sounds_ – - 9:30 Robert Lzicar _Swiss Types — the invention of a national typography_ – - 10:00 Radek Sidun _Milestones in Czech type design_ – - 10:30 Keith Tam _Typographic cueing in bilingual documents_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Juan Luis Blanco _The case of the Tifinaghscript: typeface design to the rescue_ – - 12:00 Meta Newhouse and Nathan Davis _Type of place: a systematic preservation of cultural memory_ – - 12:30 Ian Montgomery, Liam McComish and Ruth Brolly _Graphic de:re:generation_ – - 13:00 _Discussion_ – - 13:15 _Lunch break_ – - 14:15 Evripides Zantides _Exploring the mythical qualities of letterforms through semiotics and content analysis_ – - 14:45 Jill Spratt _The word_ – - 15:15 Liam McComish and Ian Montgomery _Spread the word_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16.15 Onur Yazıcıgil and Özlem Özka _Ottoman Typography towards Modernisation_ – - 16:45 Dan Reynolds _East German typefaces, twenty-five years on_ – - 17:15 Crystian Cruz _Unveiling censored content through typography_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track e - 9:00 Denise Gonzales Crisp _Educating toward the discipline_ – - 9:30 Gerry Leonidas _A framework for developing discourse in typeface design_ – - 10:00 Silas Munro _Hands on-again, off-again: a paradigm of typographic pedagogy in hybrid learning_ – - 10:30 Brenda Dermody _The role and impact of the professional body in typographic design education and practice in Ireland_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 John Paul Dowling _Teach content, not type!_ – - 12:00 Gabriel Solomons _Family monograms: tradition and a connection to the past through typographic form_ – - 12:30 Connell Vaughan and Glenn Loughran _Typography and the Video Essay_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Jo De Baerdemaeker _Lean back: the evolution of reverse italics_ – - 14:45 Jesus Barrientos Mora _A typology for calligraphic type_ – - 15:15 Frank E. Blokland _Application of archetypal patterns in present-day type design practice and related education_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Timothy Donaldson _Type is clip-art_ – - 16:45 Will Hill _Letter, craft and ornament in post-digital practice_ – - 17:15 Phil Baines _Fonts and restoration_ – - 17:45 _Discussion_ – - 18:00 _Close_ – track f - 9:00 John Mulloy _Body type_ – - 9:30 Jamie Mahoney _Gutenberg remix: a case study_ – - 10:00 Mary Plunkett _Letterpress as commemoration: making books for Yeats2015_ – - 10:30 Jamie Murphy and Thomas Mayo _End grain impressions: letterpress printed display type in the twenty-first century_ – - 11:00 _Discussion_ – - 11:15 _Break_ – - 11:30 Niall McCormack _Soul Type: the Ludlow Typograph and 1960s Chicago soul record label art_ – - 12:00 Annette O’Sullivan _Letter marking with bold upright letters: stencilling histories on New Zealand sheep stations_ – - 12:30 Mohammad Shahid and Dharmalingam Udaya Kumar _Evolution of title design in Bollywood film posters_ – - 13:00 _Discussion_ – - 13:15 _Lunch Break_ – - 14:15 Lozana Rossenova and Maria Inês Cruz _The form of the book in alternative publishing practices_ – - 14:45 Trond Klevgaard _From functionalist to functional typography in Scandinavian book design_ – - 15:15 Niall McCormack in conversation with Peter Maybury _–_ – - 15:45 _Discussion_ – - 16:00 _Break_ – - 16:15 Brian Dixon _Experiencing the Structure: considering the possibility of studying how typographic forms are encountered through the application of information design theory_ – - 16:45 Barrie Tullett _Of progress and loss_ – - 17:15 _Discussion_ – - 17:45 – _–_ – - 18:00 _Close_ – …. A Clean \u002F Minimalist, Monochrome \u002F Grayscale, Typographic \u002F Big Type website in the Art & Culture industry. The overall color palette features White, Blue, Black, Gray. The typography features Times New Roman (Serif). Built using jQuery, PHP, Three.js. AI description: Face Forward is a sophisticated digital platform dedicated to an international peer-reviewed conference centered on the evolution of typography. The website serves as a scholarly hub, facilitating critical discourse between craft, research, theory, and pedagogy. It is designed to attract academics, designers, and typographic practitioners seeking to explore the intersection of visual communication and epistemological inquiry. The visual identity is a masterclass in typographic expression, utilizing a bold, high-contrast aesthetic that mirrors the site's subject matter. 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Along with a collection of columns from the past and a timely consideration of AI and the humanities, the issue offers new poems by Robert Pinsky and Chase Twichell, among others, a letter from Israel, a story by Joyce Carol Oates, a report from Hanoi, a review of recent books on racial justice and integration along with editor-in-chief Robert Boyers, who started Salmagundi in New York City in 1965, on fascism and resistance in our dangerous moment. After 60 years, no backing down in sight —#228-229 is a banger. [ SUBSCRIBE ](\u002Fshop) An international quarterly magazine of politics, culture, literature and the arts published at Skidmore College • Cover Our 60th anniversary issue, just out, represents precisely what we’ve been offering over these many decades: a wide and surprising range of work by the best writers on everything from politics and literature to art and the current culture. Along with a collection of columns from the past and a timely consideration of AI and the humanities, the issue offers new poems by Robert Pinsky and Chase Twichell, among others, a letter from Israel, a story by Joyce Carol Oates, a report from Hanoi, a review of recent books on racial justice and integration along with editor-in-chief Robert Boyers, who started Salmagundi in New York City in 1965, on fascism and resistance in our dangerous moment. After 60 years, no backing down in sight —#228-229 is a banger. [ SUBSCRIBE ](\u002Fshop) Bia Hoi Junction, Hanoi. The View from Hanoi [ Brock Eldon ](\u002Farticles\u002F1704-the-view-from-hanoi) Salmagundi #228-229 (Fall 2025 - Winter 2026) Many Thousands Gone\\ [ Martha Bayles ](\u002Farticles\u002F1720-many-thousands-gone) Salmagundi #228-229 (Fall 2025 - Winter 2026) On Jewish Evil [ David Stromberg ](\u002Farticles\u002F1706-on-jewish-evil) Salmagundi #228-229 (Fall 2025 - Winter 2026) Partisanship & Denial: A Response To Andrew Sullivan and Finally Getting It [ William Deresiewicz ](\u002Farticles\u002F456-partisanship-denial) Salmagundi 218-219, Spring-Summer 2023 The Praxis of “Practice” [ Michael Kowalski ](\u002Farticles\u002F432-the-praxis-of-practice) Salmagundi 216-217, Fall 2022 - Winter 2023 The Pleasures of Censorship [ Adam Phillips ](\u002Farticles\u002F375-the-pleasures-of-censorship) Salmagundi 214-215, Spring - Summer 2022 A Selection from Elias Canetti’s _The Book Against Death_ [ Elias Canetti ](\u002Farticles\u002F343-a-selection-from-elias-canetti-s-_the-book-against-death_) Interviews Women, The Arts, & The Politics of Culture An Interview with Susan Sontag [ Susan Sontag ](\u002Farticles\u002F14-women-the-arts-the-politics-of-culture) Salmagundi No. 188\u002F189, 2015 Online Wielding the Lyric On _Now It’s Dark_ [ Ocean Vuong ](\u002Farticles\u002F274-wielding-the-lyric) What Now, Humanist?\\ [ Jennifer Delton ](\u002Farticles\u002F1707-what-now-humanist) Salmagundi #228-229 (Fall 2025 - Winter 2026) _The New Yorker_ at 100: A Personal Reflection [ Martin Jay ](\u002Farticles\u002F1705-the-new-yorker-at-100) Salmagundi #228-229 (Fall 2025 - Winter 2026) Online The Home Key #20 Defector From the Petty Wars [ Rick Moody ](\u002Farticles\u002F1638-the-home-key-20) The Field [ Ben Corvo ](\u002Farticles\u002F1543-the-field) Salmagundi 226-227, Spring - Summer 2025 Vanishing Acts [ Anne Kenner ](\u002Farticles\u002F1539-vanishing-acts) Salmagundi 226-227, Spring - Summer 2025 Rosanna Warren: An Interview\\ [ Rosanna Warren ](\u002Farticles\u002F1717-rosanna-warren-an-interview) Salmagundi #228-229 (Fall 2025 - Winter 2026) Will the Real Francis Picabia Please Stand Up? [ Barbara Purcell ](\u002Farticles\u002F1605-will-the-real-francis-picabia-please-stand-up) Salmagundi 226-227, Spring - Summer 2025 Crazy [ Philip Schultz ](\u002Farticles\u002F1542-crazy) Salmagundi 226-227, Spring - Summer 2025 Bunk [ Robert Cohen ](\u002Farticles\u002F1506-bunk) Salmagundi 226-227, Spring - Summer 2025 About Current issue Back issues Topics Authors Symposia Online Shop Masthead Columns Essays Poetry Fiction Reviews Archives Interviews Criticism Politics • Cover Our 60th anniversary issue, just out, represents precisely what we’ve been offering over these many decades: a wide and surprising range of work by the best writers on everything from politics and literature to art and the current culture. Along with a collection of columns from the past and a timely consideration of AI and the humanities, the issue offers new poems by Robert Pinsky and Chase Twichell, among others, a letter from Israel, a story by Joyce Carol Oates, a report from Hanoi, a review of recent books on racial justice and integration along with editor-in-chief Robert Boyers, who started Salmagundi in New York City in 1965, on fascism and resistance in our dangerous moment. After 60 years, no backing down in sight —#228-229 is a banger. [ SUBSCRIBE ](\u002Fshop) Special Features The Home Key The “Lost Girls” of the _Yellow Book_ [ Barbara Black ](\u002Farticles\u002F1721-the-lost-girls-of-the-yellow-book) Salmagundi #228-229 (Fall 2025 - Winter 2026) Five Poems [ Chase Twichell ](\u002Farticles\u002F1715-five-poems) Salmagundi #228-229 (Fall 2025 - Winter 2026) Notes on a Photograph from 1884 [ Nick Flynn ](\u002Farticles\u002F466-notes-on-a-photograph-from-1884) Salmagundi 218-219, Spring-Summer 2023 A Thousand Gentle Smotherings [ Celeste Marcus ](\u002Farticles\u002F441-a-thousand-gentle-smotherings) Salmagundi 216-217, Fall 2022 - Winter 2023 What Lurks Below the New Class War [ Roger Berkowitz ](\u002Farticles\u002F380-what-lurks-below-the-new-class-war) Salmagundi 214-215, Spring - Summer 2022 The Super-Ego in the Green World [ Mark Edmundson ](\u002Farticles\u002F373-the-super-ego-in-the-green-world) A Brooklyn Bovary (As Told by Her Son) [ David Mikics ](\u002Farticles\u002F90-a-brooklyn-bovary) Online Poetry “Sad Song” [ Chase Twichell ](\u002Farticles\u002F110-sad-song) Criticism Politics Emerging from Censorship [ J.M. Coetzee ](\u002Farticles\u002F9-emerging-from-censorship) Salmagundi No. 100, Fall 1993 Online Paul McCartney with Linda at Empire Theatre, Liverpool 1973 The Home Key #22: Paul McCartney, the Solo Years [ Rick Moody ](\u002Farticles\u002F1771-the-home-key-22-paul-mccartney-the-solo-years),[ Marc Woodworth ](\u002Farticles\u002F1771-the-home-key-22-paul-mccartney-the-solo-years), and[ Adam Braver ](\u002Farticles\u002F1771-the-home-key-22-paul-mccartney-the-solo-years) [The Tragedy of Liberal Self-Doubt](\u002Farticles\u002F1572-the …",{"id":666,"height":13,"width":12,"blurhash":667},"8e244143-65ce-4b56-9b06-4baff035ff55","radial-gradient(at 0 0,#edf4f5,#00000000 50%),radial-gradient(at 33% 0,#f0f2ec,#00000000 50%),radial-gradient(at 67% 0,#fafaf6,#00000000 50%),radial-gradient(at 100% 0,#fcfbfb,#00000000 50%),radial-gradient(at 0 50%,#cdc2c4,#00000000 50%),radial-gradient(at 33% 50%,#ad9386,#00000000 50%),radial-gradient(at 67% 50%,#d6cac4,#00000000 50%),radial-gradient(at 100% 50%,#f6f2f1,#00000000 50%),radial-gradient(at 0 100%,#d4d5d8,#00000000 50%),radial-gradient(at 33% 100%,#cbc4bc,#00000000 50%),radial-gradient(at 67% 100%,#e1dfda,#00000000 50%),radial-gradient(at 100% 100%,#f2f0f0,#00000000 50%)",{"id":669,"height":15,"width":14,"blurhash":104},"7d1b48d2-0f54-4fcc-a89d-137f13ed64ac",[671,674,677,680,683,686,689,692,695,698,701,704,707,710,713,716,719,722,725,728,731,734,737,740,743,746,749,752,755,758],{"directus_files_id":672},{"id":673},"71b52c58-440f-4174-9c66-a15fe5416204",{"directus_files_id":675},{"id":676},"bcdd0258-ebe9-43c9-b634-5fff7b6d6b0f",{"directus_files_id":678},{"id":679},"c2841b20-ee81-49f2-8058-121f01cb6fd0",{"directus_files_id":681},{"id":682},"e6413f52-cc85-41e1-8a0b-bf0c8834ed9e",{"directus_files_id":684},{"id":685},"2b716e5c-547a-4f7f-ae3e-a1d82e684736",{"directus_files_id":687},{"id":688},"c9629595-3b9b-4d90-8321-ac5992f556a1",{"directus_files_id":690},{"id":691},"bb7d1b52-0acd-4fbb-a8f7-09d850d2e19e",{"directus_files_id":693},{"id":694},"1f08f1ec-2c11-4981-bd46-ce4fab505ad6",{"directus_files_id":696},{"id":697},"b07bfda4-f330-464e-9401-9eac0d2d41bc",{"directus_files_id":699},{"id":700},"027795d6-f557-458e-9a82-52f60b0f4adc",{"directus_files_id":702},{"id":703},"8d90dca1-01b8-44a5-998b-efccaa933979",{"directus_files_id":705},{"id":706},"e002403f-b8cf-4691-bc9b-bf52a6e73207",{"directus_files_id":708},{"id":709},"0b15d71e-1dce-4996-8e0b-410c111eca5f",{"directus_files_id":711},{"id":712},"00ff0ffd-6ca8-4d60-a2c3-dac3411ee19d",{"directus_files_id":714},{"id":715},"0df549fe-44ec-4b35-ad1a-2ea97af6b32d",{"directus_files_id":717},{"id":718},"524fe1c5-d0f7-4680-a967-933992cd2683",{"directus_files_id":720},{"id":721},"33fb745f-9f8f-4aef-b6b3-9aafff286144",{"directus_files_id":723},{"id":724},"7b366636-3a71-4db5-bdf6-b3adad1c4455",{"directus_files_id":726},{"id":727},"77978e31-42e4-41d9-a41c-2791a5ee4ae6",{"directus_files_id":729},{"id":730},"1841d10b-af5d-457d-9fa7-e1c09ccd7a3c",{"directus_files_id":732},{"id":733},"40ac1f5f-7287-4f3d-aa7b-eb1f0e6f350e",{"directus_files_id":735},{"id":736},"5251c4a2-bdd9-4f6c-8ff3-d8fa31ea04a5",{"directus_files_id":738},{"id":739},"ff8e8b5b-e1f7-4646-a9e7-1619bc196c6b",{"directus_files_id":741},{"id":742},"3f83aa87-abe4-40b1-8d2e-53047fe437b8",{"directus_files_id":744},{"id":745},"c42b3485-2498-405d-b7b5-e5878ad170fb",{"directus_files_id":747},{"id":748},"9fe50101-f9cf-4567-ba7c-3f837da5e292",{"directus_files_id":750},{"id":751},"baa78dbb-02b6-4b33-99b4-2a586475e170",{"directus_files_id":753},{"id":754},"6394465f-cfa1-4932-a23f-dd9825a33b1d",{"directus_files_id":756},{"id":757},"3d66830a-4ab6-4b02-8bac-ed4e8354af5e",{"directus_files_id":759},{"id":760},"383aad9b-73fa-48ed-8dfe-7a78e88a9f88",[762],{"languages_code":529,"description":763},"Salmagundi Magazine serves as a sophisticated intellectual hub, offering a rigorous quarterly exploration of politics, culture, literature, and the arts. The platform is designed for a discerning, academic, and culturally engaged audience that seeks depth over brevity, providing a home for demanding fiction, long-form essays, and provocative criticism. \n\nThe visual identity is defined by a striking, high-contrast typographic approach that mirrors the magazine's uncompromising editorial stance. By utilizing a clean, grid-based layout paired with bold, serif-heavy imagery and a minimalist color palette, the design evokes the prestige of a traditional literary journal while maintaining a modern, accessible digital presence. The use of large-scale typography and structured navigation emphasizes clarity and intellectual weight.","Entertainment & Media",[26,30],[],[377],[769,770],"Ruby","Ruby on Rails",[772,773,774,775],{"score":608,"category":189},{"score":297,"category":192},{"score":560,"category":195},{"score":560,"category":198},[777,778,779,780],{"score":301,"category":189},{"score":297,"category":192},{"score":560,"category":195},{"score":560,"category":198},[208,782,220,212],"violet","Website: Salmagundi. Page: Homepage. Page type: Home \u002F Landing Page. Page title: Home - Salmagundi Magazine. Page description: Salmagundi Magazine is an international quarterly magazine of politics, culture, literature and the arts published at Skidmore College. Page content: About Current issue Back issues Topics Authors Symposia Online Shop Masthead Columns Essays Poetry Fiction Reviews Archives Interviews Criticism Politics An international quarterly magazine of politics, culture, literature and the arts published at Skidmore College About Current issue Back issues Topics Authors Symposia Online Shop Masthead Columns Essays Poetry Fiction Reviews Archives Interviews Criticism Politics • Cover Our 60th anniversary issue, just out, represents precisely what we’ve been offering over these many decades: a wide and surprising range of work by the best writers on everything from politics and literature to art and the current culture. Along with a collection of columns from the past and a timely consideration of AI and the humanities, the issue offers new poems by Robert Pinsky and Chase Twichell, among others, a letter from Israel, a story by Joyce Carol Oates, a report from Hanoi, a review of recent books on racial justice and integration along with editor-in-chief Robert Boyers, who started Salmagundi in New York City in 1965, on fascism and resistance in our dangerous moment. After 60 years, no backing down in sight —#228-229 is a banger. [ SUBSCRIBE ](\u002Fshop) An international quarterly magazine of politics, culture, literature and the arts published at Skidmore College • Cover Our 60th anniversary issue, just out, represents precisely what we’ve been offering over these many decades: a wide and surprising range of work by the best writers on everything from politics and literature to art and the current culture. Along with a collection of columns from the past and a timely consideration of AI and the humanities, the issue offers new poems by Robert Pinsky and Chase Twichell, among others, a letter from Israel, a story by Joyce Carol Oates, a report from Hanoi, a review of recent books on racial justice and integration along with editor-in-chief Robert Boyers, who started Salmagundi in New York City in 1965, on fascism and resistance in our dangerous moment. After 60 years, no backing down in sight —#228-229 is a banger. [ SUBSCRIBE ](\u002Fshop) Bia Hoi Junction, Hanoi. The View from Hanoi [ Brock Eldon ](\u002Farticles\u002F1704-the-view-from-hanoi) Salmagundi #228-229 (Fall 2025 - Winter 2026) Many Thousands Gone\\ [ Martha Bayles ](\u002Farticles\u002F1720-many-thousands-gone) Salmagundi #228-229 (Fall 2025 - Winter 2026) On Jewish Evil [ David Stromberg ](\u002Farticles\u002F1706-on-jewish-evil) Salmagundi #228-229 (Fall 2025 - Winter 2026) Partisanship & Denial: A Response To Andrew Sullivan and Finally Getting It [ William Deresiewicz ](\u002Farticles\u002F456-partisanship-denial) Salmagundi 218-219, Spring-Summer 2023 The Praxis of “Practice” [ Michael Kowalski ](\u002Farticles\u002F432-the-praxis-of-practice) Salmagundi 216-217, Fall 2022 - Winter 2023 The Pleasures of Censorship [ Adam Phillips ](\u002Farticles\u002F375-the-pleasures-of-censorship) Salmagundi 214-215, Spring - Summer 2022 A Selection from Elias Canetti’s _The Book Against Death_ [ Elias Canetti ](\u002Farticles\u002F343-a-selection-from-elias-canetti-s-_the-book-against-death_) Interviews Women, The Arts, & The Politics of Culture An Interview with Susan Sontag [ Susan Sontag ](\u002Farticles\u002F14-women-the-arts-the-politics-of-culture) Salmagundi No. 188\u002F189, 2015 Online Wielding the Lyric On _Now It’s Dark_ [ Ocean Vuong ](\u002Farticles\u002F274-wielding-the-lyric) What Now, Humanist?\\ [ Jennifer Delton ](\u002Farticles\u002F1707-what-now-humanist) Salmagundi #228-229 (Fall 2025 - Winter 2026) _The New Yorker_ at 100: A Personal Reflection [ Martin Jay ](\u002Farticles\u002F1705-the-new-yorker-at-100) Salmagundi #228-229 (Fall 2025 - Winter 2026) Online The Home Key #20 Defector From the Petty Wars [ Rick Moody ](\u002Farticles\u002F1638-the-home-key-20) The Field [ Ben Corvo ](\u002Farticles\u002F1543-the-field) Salmagundi 226-227, Spring - Summer 2025 Vanishing Acts [ Anne Kenner ](\u002Farticles\u002F1539-vanishing-acts) Salmagundi 226-227, Spring - Summer 2025 Rosanna Warren: An Interview\\ [ Rosanna Warren ](\u002Farticles\u002F1717-rosanna-warren-an-interview) Salmagundi #228-229 (Fall 2025 - Winter 2026) Will the Real Francis Picabia Please Stand Up? [ Barbara Purcell ](\u002Farticles\u002F1605-will-the-real-francis-picabia-please-stand-up) Salmagundi 226-227, Spring - Summer 2025 Crazy [ Philip Schultz ](\u002Farticles\u002F1542-crazy) Salmagundi 226-227, Spring - Summer 2025 Bunk [ Robert Cohen ](\u002Farticles\u002F1506-bunk) Salmagundi 226-227, Spring - Summer 2025 About Current issue Back issues Topics Authors Symposia Online Shop Masthead Columns Essays Poetry Fiction Reviews Archives Interviews Criticism Politics • Cover Our 60th anniversary issue, just out, represents precisely what we’ve been offering over these many decades: a wide and surprising range of work by the best writers on everything from politics and literature to art and the current culture. Along with a collection of columns from the past and a timely consideration of AI and the humanities, the issue offers new poems by Robert Pinsky and Chase Twichell, among others, a letter from Israel, a story by Joyce Carol Oates, a report from Hanoi, a review of recent books on racial justice and integration along with editor-in-chief Robert Boyers, who started Salmagundi in New York City in 1965, on fascism and resistance in our dangerous moment. After 60 years, no backing down in sight —#228-229 is a banger. [ SUBSCRIBE ](\u002Fshop) Special Features The Home Key The “Lost Girls” of the _Yellow Book_ [ Barbara Black ](\u002Farticles\u002F1721-the-lost-girls-of-the-yellow-book) Salmagundi #228-229 (Fall 2025 - Winter 2026) Five Poems [ Chase Twichell ](\u002Farticles\u002F1715-five-poems) Salmagundi #228-229 (Fall 2025 - Winter 2026) Notes on a Photograph from 1884 [ Nick Flynn ](\u002Farticles\u002F466-notes-on-a-photograph-from-1884) Salmagundi 218-219, Spring-Summer 2023 A Thousand Gentle Smotherings [ Celeste Marcus ](\u002Farticles\u002F441-a-thousand-gentle-smotherings) Salmagundi 216-217, Fall 2022 - Winter 2023 What Lurks Below the New Class War [ Roger Berkowitz ](\u002Farticles\u002F380-what-lurks-below-the-new-class-war) Salmagundi 214-215, Spring - Summer 2022 The Super-Ego in the Green World [ Mark Edmundson ](\u002Farticles\u002F373-the-super-ego-in-the-green-world) A Brooklyn Bovary (As Told by Her Son) [ David Mikics ](\u002Farticles\u002F90-a-brooklyn-bovary) Online Poetry “Sad Song” [ Chase Twichell ](\u002Farticles\u002F110-sad-song) Criticism Politics Emerging from Censorship [ J.M. Coetzee ](\u002Farticles\u002F9-emerging-from-censorship) Salmagundi No. 100, Fall 1993 Online Paul McCartney with Linda at Empire Theatre, Liverpool 1973 The Home Key #22: Paul McCartney, the Solo Years [ Rick Moody ](\u002Farticles\u002F1771-the-home-key-22-paul-mccartney-the-solo-years),[ Marc Woodworth ](\u002Farticles\u002F1771-the-home-key-22-paul-mccartney-the-solo-years), and[ Adam Braver ](\u002Farticles\u002F1771-the-home-key-22-paul-mccartney-the-solo-years) [The Tragedy of Liberal Self-Doubt](\u002Farticles\u002F1572-the …. A Clean \u002F Minimalist, Typographic \u002F Big Type website in the Entertainment & Media industry. The overall color palette features White, Violet, Gray, Black. The typography features Times New Roman (Serif). Built using Ruby, Ruby on Rails. AI description: Salmagundi Magazine serves as a sophisticated intellectual hub, offering a rigorous quarterly exploration of politics, culture, literature, and the arts. The platform is designed for a discerning, academic, and culturally engaged audience that seeks depth over brevity, providing a home for demanding fiction, long-form essays, and provocative criticism. The visual identity is defined by a striking, high-contrast typographic approach that mirrors the magazine's uncompromising editorial stance. By utilizing a clean, grid-based layout paired with bold, serif-heavy imagery and a minimalist color palette, the design evokes the prestige of a traditional literary journal while maintaining a modern, accessible digital presence. The use of large-scale typography and structured navigation emphasizes clarity and intellectual weight."]