A photo essay that captures the commas and pauses of workdays across the world.
As part of our new “b-roll” film column, Vamika Sinha revisits Boots Riley’s Afro-surrealist Sorry to Bother You, and why it offers important commentary on the intersections of race and late-stage capitalism in 2020.
A photo series featuring street photography of the working class in the UAE and elsewhere.
Owen Jobson sketches two security guards from Maru-a-Pula School in Gaborone, Botswana, staff at the school compound where he grew up.
In a new conceptual art series, Turkish artist Erhan Us provides scathing commentary on the effects of capitalism on humanity.
A short story set in Bangkok 2020, amid the pandemic, a summer romance, and a 24-hour convenience store.
Three new poems by Garreth Chan, exploring sex work and sexual labor.
Emily Broad’s new poem reflects on a city “built on the backs of movement.”
Kicking off our new film column “b-roll”, Toby Le reviews Bong Joon Ho’s Parasite through the lens of a pivotal murder sequence.
Mia Irani’s trio of digital art pieces comment on domestic labor, immigration and the kafala system in the Middle East.
The latest addition to our haiku column.
Sarah Afaneh’s new poem explores the ordinary labors of womanhood, and the complicated bond of a mother and a daughter.
“The diagnosis was Enlarged Heart Syndrome. I failed to understand why they intoned the news like they were reporting a death—I agreed with the diagnosis …”
chaimihai’s self-reflective new poem unravels the labors of anxiety.
“Red dirt. For miles. Nothing else surrounds the diner in The Middle of Nowhere, Arizona. A diner surrounded by dirt is the perfect place for peculiar things. Inside sit five booths of red vinyl riddled with cigarette burns and ketchup stains. The creases between…”
Jane Ayres writes about the inhabitants of a care home in this free verse.