Dr. Robin R Blyn

The Feminist Spaces Editorial Team is proud to present the inaugural issue of their new chapbook, The Fountain. The Fountain is a meeting space for creativity, an apparatus for feminine homosociality, red ink in a black-and-white printing press. “The Red Ink Issue” is a spotlight for our contributors who, for one reason or another, didn‘t make it into the mainline Feminist Spaces issues. Their ink, or chalk, or thread, or oil, or pixels, come from a deep and incessant pain which criticism fails to locate. Find the online edition below. To request a physical copy, please email with number of copies and a shipping address to feministspacesjournal@gmail.com

The Summer 2023 Issue showcases art and essays from a variety of international artists and writers. The theme of this issue is “her body,” challenging the notion that a woman’s worth lies in her physicality. Some works within Issue 9 explore topics such as sapphic connections to nature, the effect of the unified church and state on gender norms, intersex individuals’ struggle to find a place in the gender binary, myths surrounding the blood of Chinese women, the harmful nature of diet culture, and feminist artwork. Our international contributors provide a worldwide scope on pressing issues within the feminist discourse and advocate for direct action through their art and scholarship.

This annual issue showcases an international array of works exploring topics such as anti-abortion surveillance and women’s loss of privacy, motherhood, sexuality, pornography culture, justice for sexual violence survivors of war, biohacking multimedia, black women’s catharsis and political agency through poetry and blues music, and sapphic and feminist artwork. Our international contributors provide a worldwide scope on pressing issues within the feminist discourse and advocate for direct action through their art and scholarship.

Tropic of Orange rethinks postmodernism, its relationship to neoliberalism, and the political implications of a form of collectivity modeled on the World Wide Web. In Yamashita’s novel, the network is the privileged figure for the ontological condition of the neoliberal world order and for a mode of postnational belonging endowed with the potential to instigate radical change. As the novel struggles with this potential, it prefigures and significantly complicates the controversial vision of postmodern politics that Michael Hardt and Antonio Negri began elaborating three years after the novel came to press.