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In 2003 following an increased terrorism threat an area of central London was designated as the Government Security Zone (GSZ). In May 2004 the Metropolitan Police Service (MPS) commissioned a GSZ police control room. The control room is staffed 24/7 365 days a year by highly trained police officers and police staff. The control room has access to significant CCTV and ANPR resources enabling officers to provide an immediate command and control facility in support of any type of incident.
By Andrew Stevens.
New York City has so many artists but too often it seems like we are all competing for money and recognition. Having united ourselves, and erasing our individual egos, we wanted to see what would happen if we could unite people through performative interaction and cooperation. The idea that individual personal expression inhibits true enlightenment, led us to work as an open collaborative entity. Beyond the actual performance, our main mode of artwork is creating connections between people.
Continuing the States of Anxiety series, Jana Astanov interviews Wild Torus.
Domestic Fabulism is a label that I think is a good fit for the collection. Each story is about either something very odd happening in a normal setting, or something normal happening in an odd setting. It’s a juxtaposition I really like. It’s a way for me to tackle familiar subjects – love, family, death, etc. – in what feels like a new way. Or at least cast them in a new light. Plus, I love writing weird stuff.
Samuel Stolton interviews Leyna Krow about her new short story collection, I’m Fine, But You Appear to Be Sinking.
First of all, it is a lie that philosophers traditionally defined knowledge as justified true belief (“JTB”). Gettier criticized a view that nearly no philosopher ever held. Roderick Chisholm might have been, at one point, the only one. Second, there was never any evidence that JTB was the “commonsense” view either, and recent work by experimental philosophers, particularly Christina Starmans and Ori Friedman, shows that it is not the commonsense view. So it was a fake problem, with no basis in either commonsense epistemology or the history of the discipline. Finally, the problem is not hard to solve.
Continuing the End Times series, Richard Marshall interviews John Turri.
As a young wannabe pop star, it would have been very convenient to have her on my side, with the long list of conquests and connections she’d made over the years. Indeed, her current boyfriend, whom she would later marry, was the figurehead of the burgeoning Punk Rock movement that had recently exploded onto the London music scene. Winning the trust of VIPs, my manager explained to me, was an essential pursuit, a perk of the trade, if you will, because, as we all know, a gift horse should never be looked in the mouth. I could sense how serious he was about this, constantly on the lookout for a good press angle by which to sell my band, as he was. His association with Malcolm McLaren, the notorious Sex Pistols manager, had given him ideas, but whereas McLaren was an intelligent guy, our manager wasn’t.
Channelling Joseph Andrews’ encounter with Lady Booby, Andy Blade recalls being seduced by the King of Punk’s girlfriend.
‘The Aleksandr Technique’ was inspired by email updates “written” by a toy meerkat during its shipping to the poet’s home. The meerkat in question, named Aleksandr Orlov, is a recurring persona deployed across media platforms by the car insurance company comparethemarket.com. As one of the company’s marketing tactics, a toy meerkat is sent to every customer that buys car insurance online. In response, Twose’s sequence cannibalises the affective appeal of the company’s gimmick – its ‘Aleksandr Technique’.
Dylan Williams on ‘The Aleksandr Technique’, from Sven Types of Terrorism by Gareth Twose.
EFG is divided into three sections, 1) Naturacide, 2) exchange following and gene flow, and 3) J’etais Enfant Jadis (I Was a Child Once). The vitalism blowing through a torn mother earth is inhaled in lines that act as both channels and chatter, whose tone is unredemptive. The emotion comes from its clamour. Voices clang and chime. Each section contains a violence both distinct from and in tune with the others, while nearly every poem has a detectable ventriloquism—dead or disembodied voices laid into each other, sometimes lyric, sometimes scavenged. Sometimes the voices feel pained, other times they kid.
Megan Jeanne Gette reviews EFG by Valerie Hsiung.
What happens when a reader expects a novel to be one thing and it ends up being something else altogether? This is not an infrequent occurrence in my reading life. Perhaps I pay too much attention to jacket copy and blurbs. Or perhaps the fault lies with the capitalistic machinery that strives to recreate the last hit instead of organically producing a new one. Whatever the cause, it’s really not the author’s fault that the book she wrote isn’t the book you thought you were reading.
Drew Broussard reviews Stranger, Father, Beloved by Taylor Larsen.
I certainly acknowledge the potency of sexuality, as well as the creative forces involved. Some people perform rituals to conjure or attract sex partners, but I’ve found that going out and meeting people is a much more practical way to get laid…. for me, anyways. If you want to hit a bullseye, it makes more sense to throw a dart, than to coerce or invoke an elemental to magically place a dart on the bullseye. No judgement, of course….
Continuing the States of Anxiety series, Jana Astanov interviews Josh Kil.
I was delighted when I reached the remark, “What is an electric field? Is it something real, or is it merely a name for a factor in an equation which has to be multiplied by something else to give the numerical value of the force we measure in an experiment?” Finally, I remember thinking, here at last was the sort of question that I wanted us to pursue. But the textbook went on to say that “since it works, it doesn’t make any difference. That is not a frivolous answer, but a serious one.” I felt ashamed of my obvious intellectual immaturity and bad taste.
Continuing the End Times series, Richard Marshall interviews Marc Lange.