Arianna Taylor

Mary

I stopped believing in Omma’s God the day she covered herself in plastic wrap. When I was younger, Dad used to pick me up from middle school around three in the afternoon, his poorly hidden shooter bottles laying across the floor of the backseat. His breath was hot and his cadence mean—I did not talk to Dad, then. We only yelled. Screamed loud enough until one of us cried—who would break first? Me, knowing this, and him, desperate to drink, would both coalesce rather simply to the idea of dropping me off at Omma’s after school, leaving him to do God knows what with the drug dealers that lived further down on Fulton. Just seven houses down and he’d get his fix. Only had to figure out what to do with me, first. The only issue was that Omma, at that time, had fallen quite far off of the wagon. In fact, I recall thinking that a wagon wasn’t high enough. That it would make more sense to say she fell off a very high trampoline, or a cliffside, perhaps a telephone pole or even heaven. Gracefulness never had less of a place than with her during my sixth, seventh and eighth grade school years.

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The Mad Writing Collective

The Mad Writing Collective is a yet-to-be-collective of Mad-identifying marginalized writers and marginalized writers affected by the psychiatric system who want to come together to be part of and hold writing and other creative online and in-person writing meetings and gatherings as a way of supporting one another, writing together across genres and for varied purposes, and being in community together. Its first ever Zoom meeting date will be announced soon. Those who are in attendance at this first meeting and those who indicate that they want to be a founding member will be the Mad Writing Collective’s founding members.

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Kimberly Dark

From Damaged Like Me: Essays on Love, Harm and Transformation (AK Press 2021) by Kimberly Dark

Damaged, Like Me

I.

I saw a porno snuff film for the first time in Las Vegas, more than thirty-five years ago. I was there recently for a professional conference and the memory came back slowly. Which boyfriend was I with? Did I get up and leave? I know I didn’t see the end.

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Johanna Rothe

The Emperor Has No Clothes! Resist Zionist Reason!

Mad Studies in Palestine Solidarity

Johanna Rothe

It is November 2023. My friend and I are sitting on my couch in my Berlin home. We are discussing a draft of my friend’s upcoming conference presentation. The presentation is about the case of a teacher in Berlin Neukölln hitting a Palestinian student. German media and government framed the incident into a scare about Palestine threatening the peace in German schools. We are finished discussing, in a way, when I advise my friend: “Someone at this conference is going to ask you to condemn Hamas. You should think about how you want to respond.”

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Cabaret Dreams – This Time by Marcos Namit

Cabaret DreamsThis Time

A retrospective on Natasha Richardson’s Sally Bowles

Marcos Namit

In November 2014, I purchased tickets for the Cabaret revival, starring film star Emma Stone, and Tony Award winning actor Alan Cumming reprising his 1998 performance. Cabaret first opened on Broadway in 1966, with a legendary score written by John Kander and Fred Ebb; and found itself etched into eternal pop culture through the iconic 1972 film, directed by Bob Fosse and starring the indomitable Liza Minnelli as madcap singer, Sally Bowles.  Cabaret is a work of art that has influenced and stayed with me since I first saw it in 1998. My boyfriend and I were excited and were filled with anticipation.

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Nancy Jensen

The Room

I am alone in the Room.  It has dirty old orange shag carpet on the floor and no furniture except a trash can.  The windows are boarded up so you can only see treetops and sky at the top.  On the other side of the Room are French doors, also all boarded up.  A person standing on the other side of the French doors would not be able to tell that there is a Room beyond those doors.  In the Room a light bulb hangs down from a cord, but the control switch to turn the light on or off is not in the Room.

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Fanney Björk Ingólfsdóttir

Fragments of a Story

1.

It‘s hard for me to describe my surroundings. Maybe because I just keep looking down at my hands or maybe because the tears are blurring my vision. I can clearly make out my mother’s voice. How stern it is, rough as always when she is giving someone a piece of her mind. But at the same time there is a tremble in it now, a nervous vibration that I have not heard before. Almost as if the sternness is breakable, at the verge of shattering at any moment.

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