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Victoria Adukwei Bulley
VICTORIA ADUKWEI BULLEY is a poet, writer and filmmaker. She is the recipient of an Eric Gregory Award, and has held artistic residencies internationally in the US, Brazil and at the V&A Museum in London. A Complete Works and Instituto Sacatar fellow, her pamphlet Girl B (Akashic) forms part of the 2017 New-Generation African Poets series. She is a doctoral student at Royal Holloway, University of London, where she is the recipient of a Technē studentship for doctoral research in Creative Writing.

Articles Available Online


On Water

Essay

Issue No. 29

Victoria Adukwei Bulley

Essay

Issue No. 29

& we say to her what have you done with our kin that you swallowed? & she says that was ages ago, you’ve drunk...

Interview

Issue No. 26

Interview with Saidiya Hartman

Victoria Adukwei Bulley

Interview

Issue No. 26

The first time I encountered Saidiya Hartman, she was a voice in salt., an award-winning play by artist and...

Such film festivals – those extraordinary clusters of images, transports of light, of virtual worlds scattered across a real geography – pale in scale when considered next to the project of the www   Gareth Evans, Jurist at the International Short Film Festival at Oberhausen, 2001       The first postal train ran between Liverpool and Manchester in 1830 Thomas De Quincey’s ‘On the English Mail-coach, or the Glory of Motion’ (1849) describes the new technology as little more than glorified catering equipment:   Tidings, fitted to convulse all nations, must henceforwards travel by culinary process; and the trumpet that once announced from afar the laurelled mail, heart-shaking, when heard screaming on the wind, and advancing through the darkness to every village or solitary house on its route, has now given way to the pot-wallopings of the boiler   The essay, in the Tory Blackwood’s Magazine, nostalgically associates the mail-coach with glamour, danger, and the news of Waterloo ending Napoleon’s European domination as the sword-arm of the French Revolution From the other side of the industrial revolution, and the opposite end of the political spectrum, China Miéville likes trains, and makes them the narrative drive of his recently published October: The Story of the Russian Revolution They hurtle Lenin and the Romanovs inexorably across the vast spaces of Eurasia in 1917, and make the transfer of ideas and information more tangible than the early telegraph equipment with which they coexisted As the civil war spread in 1918, locomotives pulled propaganda cars with the equipment to make and project film across the continent One passenger in a Red train, pioneering film theorist and director Dziga Vertov, reported that peasant audiences unused to ‘the taste of film-moonshine’ didn’t respond to Hollywood-style linear narrative, but they did perk up and stare at the screen when people like them appeared on it     ‘The movie camera was invented in order to penetrate deeper into the visible world, to explore and record visual phenomena,’ Vertov wrote in ‘Provisional Instructions to Cinema-Eye Groups’ Because

Contributor

October 2018

Victoria Adukwei Bulley

Contributor

October 2018

VICTORIA ADUKWEI BULLEY is a poet, writer and filmmaker. She is the recipient of an Eric Gregory Award, and...

Nafissa Thompson-Spires’s ‘Heads of the Colored People’

Book Review

October 2018

Victoria Adukwei Bulley

Book Review

October 2018

Somewhere on the internet is a two-hour video of a lecture by the late writer and filmmaker Kathleen Collins, author of the short story...

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poetry

Issue No. 17

Winter Diary

Galina Rymbu

TR. Joan Brooks

poetry

Issue No. 17

who bravely blasts their breath through the horn flares of gloomy streets, into dripping construction trailers, dropped by the...

Art

December 2016

Bonnie Camplin: Is it a Crime to Love a Prawn

Bonnie Camplin

Art

December 2016

  The title of Bonnie Camplin’s exhibition at 3236RLS Gallery, ‘Is it a Crime to Love a Prawn’, brings...

Art

June 2013

NEOLOGISM: How words do things with words

Maryam Monalisa Gharavi

Art

June 2013

A version of this paper was delivered at the Global Art Forum at Art Dubai in March 2013. The...

 

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