The Journal of Psychick Albion continues into its third volume with another unique blend of the hauntological, the visionary, and the magickal. Covering literature, murder, music, poetry, and detective drama, it's a wyrd web of content that is quite unlike any other. A5, 114pp. CONTENTS Flask Tea and Lay-bys: a Memory of Family Picnicking by the Side of the Road in the 1970s by Jez Conolly The Mythogeographer of Morwenstow: Robert Stephen Hawker’s Gothic Verse by Arun Sood Kate Bush: I Am A Bird Now by Nick Hudson Witch Hunt: Searching for the Sheffield Coven by Patrick Weir Witchcraft, Black Dogs and a Notorious Murder by Rosemary Pardoe The Corpse and the Copse: Locating Peter Whitehead’s The Risen by James Riley Off-Beat: When Detective Dramas Took a Peculiar Path - Part 1 by Mark Cunliffe A Romanesque Walk by Michael Hampton

More reflections on Albion's wyrd underbelly. This issue of Undefined Boundary is a special themed issue on the Daughters of Psychick Albion. A5 perfect bound book, 132pp. CONTENTS ‘Many Wonderous Revelations’: In the Footsteps of Three Daughters of Psychick Norfolk by Sally Huxtable Theo Brown: Folklore, Dartmoor, and the Underworld by Stephen Canner Ithell Colquhoun: Following the Ancient Scent by Lally Macbeth The curious case of Gladys Mitchell by Hazel Smoczynska Catherine Blake by Linda Landers “Two Steps On The Water” – Folk Horror and the work of Kate Bush by Daniel Pietersen Dame Julian of Norwich and a Medieval Shamaness' Sickness by Nick Ford Giants Grave, Chalk Queens and Reality Checkpoint: locating memory and myth in the hinterlands of Cambridge by Helen Billinghurst Gwendolen McBryde: Ever in the Shadow by Rosemary Pardoe Fatal to Prejudice: Personal reflections on the work and wanderings of two daughters of Albion, Angela Carter and Leonora Carrington by Andrew Hedgecock

36 pagesprinted in Englandstaple bound14cm x 20cm Text by Paul Bradshaw of Straight No Chaser Back in the summer of ’88 I was editing and publishing a magazine of ‘World Jazz Jive’ called Straight No Chaser. Along with a host of peeps from the thriving Brit Art community we were based in Hoxton, a shady, run down, working class area in east London. Our office was in a cobbled street, a stones throw away from the the Bass Clef jazz club ­— a club that would morph, in the early Nineties, into the most radical venue in the city hosting club nights with Coldcut, Mo’Wax, Acid Jazz, Anohkah. Aba Shanti and Metalheadz. A decade of divisive Thatcher-ite government was drawing to a close and a new optimism was in the air at the thought of a new millennium. Ecstasy had arrived in clubland and predictably the media panics ensued as illegal raves sprang up across the nation. It was around this time that I encountered Chris Bierlein and his gritty black and white shots, taken as he wandered through the streets of London, capture the downbeat vibe of that time. Meanwhile, it’s his music related images that convey a formative and unique cultural and jazz related moment. The images of the now globally renowned broadcaster and DJ Gilles Peterson, captured on air at BBC Radio London, are priceless. Peterson’s pre-internet, cult radio show was called Mad On Jazz and paved the way for a groundbreaking nu-jazz / “acid jazz” scene that went global. That ‘Worldwide’ jazz infused family continues to thrive three decades on. We also get to venture inside Peterson’s legendary, dark, sweat soaked Sunday afternoon session in Camden lock – Talkin’ Loud & Saying Something. Musically challenging Peterson’s session hosted the baddest dancers – jazz-wise and otherwise – who would descend on the club from all over the country. In this photo-story the dynamic IDJ (I Dance Jazz) appear both live, with an array of musicians, and back-stage reasoning with a young, beret sporting Peterson. It was also the era of the Jazz Warriors… a young, energised and radical Black British big band… ‘Out of Many, One People’…. and Chris brings back vivid memories with his portraits of the ensemble’s dazzling saxophonists Courtney Pine and Steve Williamson. These images tap into a movement that was shrugging off all restraints and gives us a timely and valuable snapshot of a time when the Freedom Principle was in full flight.

Memoir by the avant-garde dancer, choreographer, and filmmaker recounting her childhood years, sexual misadventures, and artistic explorations. If you're interested in Plato, you're reading the wrong book. If you're interested in difficult childhoods, sexual misadventures, aesthetics, cultural history, and the reasons that a club sandwich and other meals—including breakfast—have remained in the memory of the present writer, keep reading.—from Feelings Are Facts In this memoir, dancer, choreographer, and filmmaker Yvonne Rainer traces her personal and artistic coming of age. Feelings Are Facts (the title comes from a dictum by Rainer's one-time psychotherapist) uses diary entries, letters, program notes, excerpts from film scripts, snapshots, and film-frame enlargements to present a vivid portrait of an extraordinary artist and woman in postwar America. Rainer tells of a California childhood in which she was farmed out by her parents to foster families and orphanages, of sexual and intellectual initiations in San Francisco and Berkeley, and of artistic discoveries and accomplishments in the New York City dance world. Rainer studied with Martha Graham and Merce Cunningham in the late 1950s and early 1960s, cofounded the Judson Dance Theater in 1962, hobnobbed with New York artists including Robert Rauschenberg, Robert Morris (her lover and partner for several years), and Yoko Ono, and became involved with feminist and antiwar causes in the 1970s and 1980s. Rainer writes about how she constructed her dances—including The Mind Is a Muscle and its famous section, Trio A, as well as the recent After Many a Summer Dies the Swan—and about turning from dance to film and back to dance. And she writes about meeting her longtime partner Martha Gever and discovering the pleasures of domestic life.

For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, Blues People and Black Music, Baraka offers essays on the famous—Max Roach, Charlie Parker, Miles Davis, John Coltrane—and on those whose names are known mainly by jazz aficionados—Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to generation, providing us, their listeners, with a sense of meaning and belonging.

5 x 7.5 inches, paperback, 63 pages. “If the immense sound heard in these poems strikes you as its own cosmic event horizon, then yes, you have learned the coded labyrinth that is Thulani Davis’s intricate, soulful, and playful mind. Such recordings and waves, restrained here on the surface as reminiscences, are in fact nothing less than an intimate celebration of a fearless culture whose aim was always about freedom. Nothing but the Music transports us and attunes our ears to a profound era that sought to invent our future and then more future.” —Major Jackson   “Nothing but the Music dares the reader to take it all in, to meditate, and then act (react), whether a dance, a cry, or an amen of acknowledgement and remembrance. Yes, each poem here rocks steady, carrying the natural freight of confrontation and jubilation.” —Yusef Komunyakaa   “Her work is a soundtrack for black culture, a record of visionary creativity.” —Terrance Hayes   Poetry in service of music can be an embarrassment, especially when it attempts mimesis—something Thulani Davis scrupulously avoids. She never just echoes the free jazz and aligned black musics of the ’70s and ’80s. She engages it in fruitful dialogue. —Francis Davis, author Jazz and Its Discontents and The History of the Blues The sounds of late ’70s and ’80s east coast avant-garde jazz, soul, and punk rock are well documented, but in Nothing but the Music Thulani Davis gives us something beyond, delivering a collection of synesthetic, transportive documentary poems that breathe anecdotal and impressionistic life into a sonic-social history about which most can only speculate. Davis’ verse takes free flight with its muses, scatting and leaping off the page and the shoulders of the musicians, nightclubs, and choreographers she chronicles in these poems. Her odes both to recorded music and its sacred spaces of spirited encounter are at once a paean to ephemeral flashes of embodied experience and a work of preservation. Davis remembers to remember the raw feelings, smoke, dawn drunks, and impulsive energy of her moment, without forgetting its inscription into a broader political urgency. Written between 1974 and 1992, these poems are the most anthologized pieces of Davis’ work, having appeared in numerous collections of writing on black music, here finally assembled for the first time. Nothing but the Music is further proof of Davis’ place as a crucial figure, alongside poets Jayne Cortez, Sonia Sanchez, and Ntozake Shange, in the cultural landscape surrounding the Black Arts Movement. Featured musicians and dancers include Cecil Taylor, the Art Ensemble of Chicago, Bad Brains, Henry Threadgill, Thelonious Monk, The Revolutionary Ensemble, The Commodores, MFSB, Dianne McIntyre, Ishmael Houston-Jones, and many more in performances at historic venues such as The Five Spot, The Village Vanguard, The Apollo, Storyville, and Club Harlem. With a foreword by Jessica Hagedorn and an introduction by Tobi Haslett. Thulani Davis (b. 1949) is an interdisciplinary artist and scholar whose work includes works of poetry, theater, journalism, history, and film. Her engagement with African American life, culture, and history is distinguished by poetic economy, passionate musicality, and an investigative concern for justice. While a student at Barnard College, the Virginia native was “schooled” for her first spoken word performance by Gylan Kain and Felipe Luciano of the Original Last Poets, jumpstarting a life of performance that would have her put words to music by Cecil Taylor, Joseph Jarman, Juju, Arthur Blythe, Miya Masaoka, David Murray, Henry Threadgill, Tania León, and others. Living in San Francisco in the ‘70s, she joined the Third World Artists Collective, collaborated with Ntozake Shange, and worked for the San Francisco Sun-Reporter, reporting on stories such as the Soledad Brothers trial and the Angela Davis case before returning to New York and continuing to incite radical political thought as a reporter and critic for the Village Voice for over a decade. This experience as a journalist blazes through her historical fiction and her other writing, breathing anecdotal life into the experiences of actors of American history who have remained unnamed as a result of bondage and other unjust erasures. Davis has collaborated with her cousin, composer Anthony Davis, writing the libretti for the operas X, The Life and Times of Malcolm X and Amistad, and wrote the scripts for the films Paid in Full and Maker of Saints, as well as several award-winning PBS documentaries. In 1993, her writing for Aretha Franklin’s Queen of Soul – The Atlantic Recordings made her the first woman to win a Grammy for liner notes, and her bibliography additionally includes My Confederate Kinfolk, novels 1959 and Maker of Saints, and several works of poetry. She is an ordained Buddhist priest in the Jodo Shinshu sect, founded the Brooklyn Buddhist Association with her husband Joseph Jarman, and is currently an Assistant Professor in the Department of Afro-American Studies and a Nellie Y. McKay Fellow at the University of Wisconsin. Davis continues to explore the relationship between music and language as well as the ways we define being American and deal with race with her forthcoming book The Emancipation Circuit: Black Activism Forging a Culture of Freedom (Duke University Press) and poetry collection Nothing but the Music: Documentaries from Nightclubs, Lofts, Dance Halls & A Tailor’s Shop in Dakar (Blank Forms Editions). Poet, novelist, playwright, and performer Jessica Hagedorn was born and raised in the Philippines and came to the United States in her early teens. She is the editor of numerous anthologies and author of several books including Dogeaters, winner of the American Book Award and a finalist for the National Book Award. In the seventies and early eighties, she collaborated with Thulani Davis on multimedia performance pieces presented at downtown venues such as The Public Theater and The Kitchen. Critic and essayist Tobi Haslett has written about art, film, and literature for n+1, the New Yorker, Artforum, the Village Voice, and elsewhere.

The letters of a seducer to the great love of his life, a sensual tour-de-force by “the paterfamilias of queer literature” (New York Times) “Can’t sleep tonight. Was lying in bed reading the biography of a great man whose genius deserted him . . . The genius who deserted me was you.” In a series of late-night letters, gorgeous, funny, filled with memory, sensuality, and regret, a seducer calls across the years to the great love of his youth: an older, revered expatriate known, in his adoptive city, as the King of Naples. As the narrator evokes their affair, in scenes of beauty and remorse, his memories range over the men who came after and before, especially the seductive father who still haunts his erotic imagination. First published in 1978, before the trilogy of frankly autobiographical novels that made him famous, Nocturnes for the King of Naples reveals Edmund White at his most poetic, playful, and evocative, a magician on the level of James Salter, James Merrill, or Vladimir Nabokov.

"David Novak goes inside the Noise scene and presents an astounding perspective: historically astute, inspired, and completely shell-shocked."    —Thurston Moore, Sonic Youth "Edgy, compelling, and sharply insightful, this is the definitive book on 'Japanoise.' Drawing on his personal involvement in Noise scenes across two continents and over two decades, David Novak takes readers into the experience of Noise: its production and performance through apparati of wires, pedals, amplifiers, and tape loops, through its intensity on the stage and in one's ears and body."    —Anne Allison, author of Precarious Japan "This is a striking book: theoretically exciting, aesthetically intriguing, and well crafted. Japanoise is an extreme case study of modern musical subjectivity that demonstrates how core cultural ideas are formed on the fringe. David Novak's treatment of circulation as embedded in the creative process will shift the debate in ethnomusicology, popular music studies, and global media studies."    —Louise Meintjes, author of Sound of Africa! Making Music Zulu in a South African StudioNoise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged as a genre in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe, and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience. For its scattered listeners, Noise always seems to be new and to come from somewhere else: in North America, it was called "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium? In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise and the productive distortions of its networks. Capturing the textures of feedback—its sonic and cultural layers and vibrations—Novak describes musical circulation through sound and listening, recording and performance, international exchange, and the social interpretations of media.

With contributions from Saphiya Abu Al-Maati, Menna Agha, Asaiel Al Saeed, Aseel AlYaqoub, Yousef Awaad Hussein, Ariella Aïsha Azoulay, Danika Cooper, Brahim El Guabli, Timothy Hyde, Jill Jarvis, Bongani Kona, Dalal Musaed Alsayer, Observatoire des armements, Francisco E. Robles, Paulo Tavares, Alla Vronskaya, and XqSu.Colonial and imperial powers have often portrayed arid lands as “empty” spaces ready to be occupied, exploited, extracted, and polluted. Despite the undeniable presence of human and nonhuman lives and forces in desert territories, the “regime of emptiness” has inhabited, and is still inhabiting, many imaginaries. Deserts Are Not Empty challenges this colonial tendency, questions its roots and ramifications, and remaps the representations, theories, histories, and stories of arid lands—which comprise approximately one-third of the Earth’s land surface. The volume brings together poems in original languages, conversations with collectives, and essays by scholars and professionals from the fields of architecture, architectural history and theory, curatorial studies, comparative literature, film studies, landscape architecture, and photography. These different approaches and diverse voices draw on a framework of decoloniality to unsettle and unlearn the desert, opening up possibilities to see, think, imagine it otherwise.

A bilingual Arabic-English edition which includes translation of three books: “The Stranger’s Bed”, “A State of Siege”, and “Don’t Apologise for What You’ve Done”. Mahmoud Darwish (1942-2008) was the poetic voice of the Palestinian people. One of the most acclaimed contemporary poets in the Arab world, he was also a prominent spokesman for human rights who spent most of his life in exile. In his early work, the features of his beloved land – its flowers and birds, towns and waters – were an integral part of poems witnessing a string of political and humanitarian tragedies afflicting his people. In his most recent books, his writing stands at the border of earth and sky, reality and myth, poetry and prose. Returning to Palestine in 1996, he settled in Ramallah, where he surprised his huge following in the Arab world by writing a book of love, The Stranger’s Bed (1998), singing of love as a private exile, not about exile as a public love. A State of Siege (2002) was his response to the second Intifada, his testament not only to human suffering but to art under duress, art in transmutation. The 47 short lyrics of Don’t Apologise for What You’ve Done (2003) form a transfiguring incarnation or incantation of the poet after the carnage. The Butterfly’s Burden is a translation of these three recent books. It was awarded the Saif Ghobash-Banipal Prize for Arabic Literary Translation in 2008. Arabic-English bilingual edition.

When composers like Philip Glass and Steve Reich began creating hypnotically repetitive music in the 1960s, it upended the world of American composition. But minimalism was more than a classical phenomenon—minimalism changed everything. Its static harmonies and groovy pulses swept through the broader avant-garde landscape, informing the work of Yoko Ono and Brian Eno, John and Alice Coltrane, Pauline Oliveros and Julius Eastman, and many others.On Minimalism moves from the style's beginnings in psychedelic counterculture through its present-day influences on ambient jazz, doom metal, and electronic music. The editors look beyond the major figures to highlight crucial and diverse voices—especially women, people of color, and LGBTQ+ musicians—that have shaped the genre. Featuring more than a hundred rare historical sources, On Minimalism curates this history anew, documenting one of the most important musical movements of our time.

The final iteration of Rainer's dance rant A Truncated History of the Universe for Dummies, accompanied by texts offering a real-time account of Rainer's creative process. Choreographer and filmmaker Yvonne Rainer has long investigated the ways in which movement can be a political act in and of itself—on the stage, on the screen, or at the lectern. In Revisions, Rainer pushes her interest in embodied activism to a new arena: what she calls the “dance rant.” This volume includes the final iteration of Rainer's latest dance rant, entitled A Truncated History of the Universe for Dummies. This performance piece evolved in live presentations in Dublin, Stockholm, and New York before being expanded and adapted in written form here. In this now-completed work, Rainer mobilizes her rage and bafflement at contemporary political events through the guise of Apollo, Leader of the Muses. Revisions also includes a compilation of emails and diary entries that provide a real-time account of Rainer's process of creating and workshopping a dance. “Pedagogical Vaudeville 3” reveals Rainer's consistent interest in reworking and reconsidering material across multiple mediums, formats, and contexts, and offers a unique glimpse at the working methods of one of this century's preeminent dance artists. Bookended with an introduction by artist and scholar Gregg Bordowitz and an analysis of Rainer's AG Indexical with a Little Help from H. M. by dance historian Anna Staniczenko, these texts serve not only as a revision of the conventional understanding of five decades of Rainer's production, but also as a timely manual for performance as an act of resistance.

FROM HAPPINESS election day. terminal. a cluster of predecessors in the languagei.e. cells of racist light, in verbs, tumblingBelgravia or something, an adverbthink of adjectives as refugees. you just shot em: here is a style guide – (e) a deficit line –(a) negates the interruption of the speaking I –(u) a system of collective thought –(i) unable / unwilling to find work –(o) beyond a certain tenancy of stoic disdain –I entered first. Target A was standing by the tableI hit him with the shield. Pinned Target to floorI was foul and fair, would sleep in utter musicthe bulletins, consist entirely of nervesor harmony, pure infection of thought we entered a respectful half-light, the names, we had achievedglue and murder / or we were images, monuments, gospels& in very obvious nitrates / from the English I inheritmy mean & bitter divisions, my very grievous hail –Letters Against the Firmament is a user’s report on the end of the world, a treatise against Tory terror, a proposal for a new zodiac, a defence of poetry, a hex against the devourers of planet earth. The Letters are fierce epistolary poems, a vivid account of the sheer panic and brutality of the Austerity years. They are apocalyptic screeds of black humour hammered out in an obscure corner of east London, fearful attempts to ward off the attentions of gentrifiers, bailiffs, border agents and racists. In this collection in four parts they are joined by lean versions of already well-known works The Commons and Happiness, and the incandescent new poem Lamentations.

Publisher   Nightboat Books Publication date  10 Dec. 2020 Dimensions 13.97 x 0.64 x 20.32 cm Shifting the Silence does just that, breaks the social taboo around writing and speaking about our own deaths. In short unrelenting paragraphs, Adnan enumerates her personal struggle to conceptualize the breadth of her own life at 95, the process of aging, and the knowledge of her own inevitable death. The personal is continuously projected outwards and mirrored back through ruminations on climate catastrophe, California wildfires, the on-going war in Syria, planned missions to Mars, and the view of the sea from Adnan’s window in Brittany in a poignant often painful interplay between the interior and the cosmic.

Paperback; 176 x 108mm; 144pp.; with black-and-white illustrations Prototype, 2023Three friends hang out and share a long and unremarkable conversation about getting dressed, headaches, ticks, compression fantasies, surgery, and personal aspirations, among other things. When two of the friends go home for the night, the remaining one watches TV, dances, and takes apart his face in front of a giant mirror.  Originally a play, Sorcerer is a book about the pleasures of being together and being alone. The characters find contentment in each other’s company, conversing in the placid, eerie rhythms of a sitcom in which conflict never arises. Unease is exported to furniture, gadgets, and bodily movements. The result is a counterintuitive kind of realism, lying somewhere between the procedural and the miraculous. There’s levitation.

Limited edition  Writer & Broadcaster: Late Junction, BBC R3. Clay: A Human History (2024). The Foghorn's Lament (2021). Writing on music, sound & clayNew publication compiled by Jennifer Lucy Allan and designed by DR.ME📕📗📘📙📓Includes five zines with Jennifer interviewing artists and musicians who work with ceramics in their practice. Interviewees include:– artist @keith___harrison– ghatam player @prathapramachandra.r– Bristol music duo @coppersounds– sound artist @gemmaluzbosch– musician @tomokosauvage- 9 loose prints of various clay instruments and a collection of fragmentsAlso included are:
– Nine risographed images of historical clay instruments
– Eight fragments featuring anecdotes, memories, encounters and quotes, by Tori Kudo, MC Richards, Michael Cardew & others.All contents were risographed and hand assembled by Jennifer and DR.ME at The Engine House Studio in Salford, housed in an archive grade box folder, screenprinted by Anchor End.

edited by Chris Oldham  200 pages Language English Publisher Rough Trade Books 30 Oct. 2023 20.32 x 23 x 29 cm Curated and edited by designer and author Craig Oldham, In Loving Memory of Work tells the story of the UK Miner's Strike 1984-85 through a record of the visual culture of the working class affected during this pivotal period. Photographs, posters, badges, banners and more are presented here alongside contemporary commentary that creates both a fascinating document of a specific historical period, as well as an exploration of dissent more broadly, and the vital role visual material can play in the radical, even revolutionary, moment. Originally published in 2015, this revised and updated Rough Trade Books edition features a raft of brand-new material to mark the upcoming 40th anniversary of the dispute, celebrating the breadth of working-class creativity while simultaneously paying homage to a devastated community. Alongside a foreword from acclaimed film director Ken Loach, are original contributions from comedian Alexei Sayle, Turner Prize-winning artist Jeremy Deller, as well as notable designers including Ian Anderson (The Designers Republic), Jonathan Barnbrook, Ken Garland, and design critic Rick Poynor. Featuring rare visual material from the collections of the Working Class Movement Library, the National Union of Mineworkers, and artist Darren Coffield, the book also includes recollections and material from Women Against Pit Closure's co-founder, Anne Scargill (former wife of the NUM leader during the strike, Arthur Scargill), alongside female activists Betty Cook and Aggie Currie, as well as political cartoonist Alan Hardman, banner artists Ed Hall and Andrew Turner, filmmaker Yvette Vanson, Mike Mansfield QC, and designer Paul Morton. The book also explores one of the strike's most iconic and enduring images, that of the defenceless Lesley Boulton, about to be struck by a mounted policeman during the now infamous 'Battle of Orgreave' through interviews with both Boulton herself and photographer, John Harris

Paperback Sternberg Press, June, 2024 112 pp., 5 x 7 in, 26 color illus. Nikil Saval is an editor, writer, and community organizer. He was co-editor of n+1 and a contributing writer for The New Yorker, and is a frequent writer for the New York Times, covering architecture, urbanism, and design. He is the author of Cubed: A Secret History of the Workplace, and he is currently working on a book titled Everything is Architecture, a study of the politics of industrial design. He co-founded Reclaim Philadelphia, a progressive organization, and is the first Asian American to be elected Democratic ward leader in Philadelphia.Pennsylvania State Senator Nikil Saval tells the story of an unlikely partnership between June Jordan and R. Buckminster Fuller, and their attempt to reimagine Harlem in the wake of the 1964 riots. In the tense days leading up to the 2020 American elections, then-candidate for Pennsylvania State Senate Nikil Saval addressed a virtual audience at the Harvard GSD to tell a story about Black feminist writer June Jordan and a little-known project that resulted from the aftermath of the 1964 Harlem riot. The events of police brutality and community grieving made a lasting impression on Jordan, who, while known for her work as a poet, playwright, and activist, responded with a proposal for a multiple-tower housing design. Through an unlikely partnership with R. Buckminster Fuller, Jordan's “Skyrise for Harlem” project offered a Futuristic vision for Harlem that argued for environmental redesign: “it is architecture, conceived of in its fullest meaning as the creation of environment, which may actually determine the pace, pattern, and quality of living experience.” Jordan was not an architect in the conventional sense, Saval says. “But in the understanding of someone who sought to propose and build interventions in public space, she was.”