Draught

www.draughtjournal.com/article/note...

On Bookmarks and Other Ruins <p>There is something indescribably intimate about the act of interrupting one’s reading, the act of marking one’s place in a book, a subtle gesture t

Portfolio: On Bookmarks and Other Ruins
@dreamsofbeing.bsky.social's notes-on-bookmarks are in complete & total dialogue with everything that draught stands for: the provisional, the note, the process, the engagement. We're honoured to publish with a new essay
www.draughtjournal.com/article/on-b...

‘As a tangible object gets made, the person who is making it also gets made in the process’
Conversation between draught editor Shehnaz Suterwalla and curator Glenn Adamson on making, material intelligence and culture

www.draughtjournal.com/article/glen...

1900 <p>I know what could be said about this image – there are movie stars in it, for example, so you could start with that – but I don’t know what I will

‘My eyes fall upon an image, or it ‘floats us smoothly down a stream; resting’ filmmaker Mark Cousins writing about one (nsfw) detail from Bertolucci’s ‘1900’ — or a list of things in his head, an image that ‘for a fragment of a second, is the whole movie’

www.draughtjournal.com/article/1900

Thank you!

The brilliant Francesca Wade on Gertrude Stein and Christian Marclay

Present Continuous <p>Anyone who’s spent time with Christian Marclay’s <em>The Clock </em>(2011) will know the feeling. Sitting rapt in the dark, mesmerised by the short

'The Clock and The Making of Americans are two radical efforts to foreground, formally, the experience of time passing. One is a mammoth stream of prose, the other a film which never ends'
In Adjacencies, Francesca Wade on The Making of Americans and The Clock
www.draughtjournal.com/article/pres...

Mark Manders <p>The March 1933 issue of <em>La Nouvelle Revue Française</em> contained an essay by the French writer Paul Valéry on his poem ‘Le Cimetière marin’ (

’Because I can only write with things, I thought a good idea is to go to the supermarket, and to look for something I could write with’
From the fascinating conversation our editor @jeremymillar.bsky.social had with artist Mark Manders for issue 1.1.1
www.draughtjournal.com/article/mark...

Being Joachim Meyerhoff <p>Writers, even if writing a retelling of an old fable or myth, immerse themselves in the works of others to emerge with work inextricably linked to

'We get to write a book again, try to imagine what motivated and prompted a writer to write what they did, what mood they were in, what tone they were going for'
In our I wish I'd made section, @jencalleja.bsky.social on a book she's always wanted to translate
www.draughtjournal.com/article/bein...

‘What are you doing at the moment?’
‘I’m in pain.’

In the Land of Pain documents the isolation of pain, but also the value of being among the pained, of having pain in common. Daudet describes the beginning of the season at the thermal baths of Lamalou:

Daisy Lafarge @draughtjournal.bsky.social

One of our formats is 'adjacencies', in which two works — which might, at first glance, seem unrelated — are considered in relation to one another. In this one, the excellent Daisy Lafarge considers a Netflix reality TV show in relation to the work of late-c.19 French writer Alphonse Daudet.

Flare! <p>‘Quitting is a disease,’ says Jordan, a 25-year-old ex-marine construction worker when his teammate Dawn has been vomiting for several hours after

'The coupling of boredom and intensity is constitutive of crip time, which is warped time'
The first Adjacencies, in which two works are considered in relation to one another: Daisy Lafarge on illness, Netflix show Outlast & Alphonse Daudet's In the Land of Pain
www.draughtjournal.com/article/flare

Notes, Murmurations: <br>The Notebook as Form of Rime <p>On 27 November 1799, while taking the night coach from Yorkshire to London, Samuel Taylor Coleridge, after fitful sleep, awoke at sunrise and watch

'like swallows beneath bridges, like starlings above clouds – points in time, and across landscapes.'
'Notes, Murmurations: The Notebook as Form of Rime' – Lisa Robertson on Samuel Taylor Coleridge's notebooks (& on notebooks, note-taking, a lifetime of reading)
draughtjournal.com/article/note...

Transatlantic Translation Anthology <p>When I happen to mention to people that I translate contemporary Korean poets, I’m often asked which poets I translate into Korean. Am I to assume

’What would be a reasonable assumption? English to Korean, or Korean to English? Is translation always direction-specific?’
Don Mee Choi on poetry, translation, politics and twinning
draughtjournal.com/article/tran...

If you'd like to join our mailing list, or maybe you'd like to propose a contribution, you can do so at:

draught[at]rca[dot]ac[dot]uk

'Day trip to the River Beane and back to London, August 2025': Studio Visit with artist Rosalind Nashashibi featuring a short text by Elena Narbutaitė and photos by GD
draughtjournal.com/article/rosa...

On Bookmarks and Other Ruins <p>There is something indescribably intimate about the act of interrupting one’s reading, the act of marking one’s place in a book, a subtle gesture t

For the inaugural issue of Draught Journal @draughtjournal.bsky.social:

On Bookmarks and Other Ruins—a reflection on the bookmark as a fragile site of memory, desire, and incompletion, accompanied by images of my own bookmarks.

draughtjournal.com/article/on-b...

I don't know if you remember but some time ago I said that we'd have something to share soon.

Anyway, it's this

@draughtjournal.bsky.social

thank you!

The journal is made at the School of Arts and Humanities so it's edited by faculty members with editorial suggestions from other people at the school, students included. We definitely plan to work with alumni but for the moment the contributions are from artists, writers and other makers we admire!

Draught is now live!
www.draughtjournal.com
Issue 1.1.1 with contributions by Glenn Adamson, Jen Calleja, Don Mee Choi, Mark Cousins, Daisy Lafarge, Mark Manders, Rosalind Nashashibi, Lisa Robertson, Christina Tudor-Sideri and Francesca Wade