The Writing on the Wall by Hattie Myers

Editorials

Each of the writers in ROOM 6.25 has captured, in their own way, something of this extraordinary moment we are all living through. This is not easy. In his essay Why I Write, Thomas Ogden explains why. “Part of the difficulty of writing well lies in the fact that writing any sort of analytic essay, literary essay, poetry, fiction is autobiographical,”  Ogden writes; “I must find a way of capturing a situation in my own way, a way that bears my own mark.” This unique issue of ROOM bears the mark of multitudes and holds the scars of generations.   

In the Midst by Hattie Myers

Editorials

The writers and artists in ROOM 2.25 bear witness to what must happen in ourselves, our communities, and our political movements for truth to be faced and change to occur. Some write from amidst genocide, others from their country’s fascist turn, and still others from the impact of environmental catastrophe. Each of these life-threatening events inscribes itself differently on our souls. We live in terrifying times.

ROOM 10.24

Toward a New Collectivity by Hattie Myers

Editorials

In Kara Walker’s words, “history is the oft-repeated fable; power is the oft-repeated script.” From Walker’s art in THSLNWN: In the Colorless Light of Day, to Karim Dajani and Eyal Rozmarin’s conversation in Speaking of Home: An Intimate Exchange on Israel-Palestine, ROOM 10.24 is a testament to our collective heartbreak and resilience. Exactly one week after the 2016 US election, we created ROOM: A Sketchbook for Analytic Action. We knew that to “live out,” in Sartre’s words, “that unbearable, heart-rending situation known as the human condition in a candid unvarnished way,” we needed to do it together. For the last eight years, ROOM’s worldwide community has engaged in a collective struggle for recognition and authenticity across generations, culture, and political pressure. Now, just one week after the re-election of Donald Trump, ROOM 10.24 could not be more prescient.