Mathilda Oosthuizen: 'Ersilia: Excavating the (In)visibility of Objects'
"There is a value and a danger in not being recognised, witnessed, acknowledged."
Filters & Sorting
Call for Submissions to Issue 5: 'Presence'
The Still Point is calling for submissions to 'Presence": our fifth print edition, to be published February 2021.
Gertrude Gibbons: 'Monologue of a Violin'
A woozy, beguiling prose poem, written from the perspective of a violin.
Hester van Hensbergen: 'Mirror Displacements 1969/2020'
"The landscape is a cold equilibrium. There is a thick white sky over dunes of mottled pebbles intersected by a series of hard shards of glass. The shards are mirrors, patterned out along the stones and charting a path into the distance..."
Brendan Commane: Fadings
"Smashed pots, broken glass, empty chambers can be repaired and filled. Fadings cannot be restored, refurbished, revived or resolved."
Jordan Mitchell: 'Gas'
"We drove to Walmart. None of us had ever been to a Walmart before."
Dan Bird: On Akwaeke Emezi’s Freshwater, and Anthropos as whiteness
"Future agents will be able to look at the sedimentary strata of the planet and highlight the influence of Homo sapiens, geologically. But what conception of “the human” does Anthropos refer to?"
Fabian Broeker: 'Presence: Call Me By Your Name'
"In Call Me By Your Name the camera is embedded in the filmic world; we can feel its presence."
Rose Higham-Stainton: ‘Colette—Mirror-Play’
“They function like sharp inhalations—these concentrated, cut down versions of our lives that don’t demand we redecorate, unpack our boxes, bed in, but float on the perfumier's tails.”
Sophie Grenfell: 'Beauty Sleep'
What does it mean to leave insomnia behind?
George Millership: Review of Jing Su, 'Give'
Su's video art warps and fragments the body, facing down the medical gaze
Kamila Iżykowicz: '2m'
"I was 2 many / too many times distanced / from you my nature"
Jess Payn: 'On Telegraph Hill, 2019'
"You visit a sunset to watch yourself shrink. You imagine its stillness might displace your sense of stuckness."
Fiona Glen: 'Unseemly Figures'
"Against the teal, sealed mermaid tails, your tentacles flail in vaudeville skirt flicks; they crown an orifice liberally, speaking a leakiness. Self-enchanted shapeshifter, if you can take any figure, this one must mean home to you."
Anna Parker: 'Life Below Ground Level'
"Looking downwards reveals a sunken cultural world that provides a unique perspective on the way we live."
Imogen Cassels: 'You met me at a very strange time in my life'
"Grief opens up your constructedness-by-others. You met me at a very strange time in my life, and so now you make me up, and I still don’t know who either of us are."
Harriet Thompson: 'So the Light Turned'
"What do you miss most? A cold pint perspiring in the sun on a sticky pub table. Weaving through a crowded street."
Lewis Todd: Two Poems
Lakmé and Arête
Nadine Deller: 'Red Wall Walk'
"We spent school mornings walking past the wall, repainted several times over in a muddy red."
Airelle Perrouin: 'The Films We Dreamt'
"Growing up, my sister and I inherited a patchy quilt of half-remembered films. Our mother spoke admiringly of ‘wonderful’ scenes between actors she couldn’t remember, in a language she couldn’t recall, in a film that possibly didn’t exist."
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