“Body” by Chantelle Van Vuuren was inspired by the chapter ‘Refiguring Bodies’ from Elizabeth Grosz’s 1994 text ‘Volatile Bodies: Toward a Corporeal Feminism’.

“My anatomy is political” by Joana Joy was inspired by Iris Marion Young’s essay “Throwing Like a Girl” featured in chapter two of her 2005 book ‘On Female Body Experience’. Joy summarises a quote of Young’s from page 36 - “For many women … a space surrounds us in imagination that we are not free to move beyond”.

“White Noise” by Laura Hern was inspired by Virginia Woolf’s 1925 novel ‘Mrs Dalloway’ and Michel Foucault’s theory of power. This theory can is summarised by this quote from Foucault’s 1983 interview with André Berten in Belgium — “Power is relations; power is not a thing, it is a relationship between two individuals…”. Hern described her poem as an “attempt to verbalise the universal female internal monologue” while exploring how Foucault’s theory “affects the actions of others and enforces generational oppression and what comes with ‘femininity’ in this poem.”

“the problem with no name” by Millie Cole was inspired by Chapter One of Betty Freidan’s 1963 book “The Feminine Mystique”.

“SCUM: Society for Cutting Up Men” by o(l[i]ve)(*) (bly(th)) was inspired by Valarie Solanas’s 1968 ‘SCUM Manifesto’ and Reclaim the Night, a Leeds based division of the Women's Liberation Movement formed in 1977.

“In Conversation with You in and Around the Cowshed (While You Milk, and I Talk)” by Whaitiri Tua-Warbrick was inspired by Eva Illouz’s 1998 article ‘The Lost Innocence of Love’ published in Volume 15, Issue 3-4 of Theory, Culture and Society.

“like a girl” by Bram Casey was inspired by Iris Marion Young’s essay “Throwing Like a Girl” featured in chapter two of her 2005 book ‘On Female Body Experience’. Bram reflects on how he feels he fits in this zine “as a gay man who exists almost entirely and very purposefully (!) in a feminine world. This is my sort of love letter to those who have shaped me and an internal examination of how I conduct myself.”

“You Wouldn’t Steal Agender” by Hebe Kearney was inspired by Judith Butler’s 1990 book ‘Gender Trouble: Feminism and the Subversion of Identity’. They completed a blackout poetry exercise of page 14 which is included here.

“Hoodwinked” by Éimhín O’Shea was inspired by Donna Haraway’s article “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” featured in the 2013 book Feminist Theory Reader edited by Carole McCann and Seung-kyung Kim. The italicised stanzas are direct Haraway quotes pulled from the chapter, between pages 419 and 423.

“Body Prism” by Elliot Harley McKenzie was inspired by Jack Halberstam’s 1974 book ‘Wild Things: the Disorder of Desire’ and Judith Butler’s 1990 book ‘Gender Trouble: Feminism and the Subversion of Identity’.

The opening statement references Carol Hanisch’s article “The Personal Is Political’ which was originally published in Notes from the Second Year: Women’s Liberation in 1970. You can read the whole text online at carolhanisch.org