Hope Without Hope: Rojava and Revolutionary Commitment
Matt Broomfield's new book explores the history of the Rojava revolution in Syrian Kurdistan as a model for global liberation movements.
Matt Broomfield's new book explores the history of the Rojava revolution in Syrian Kurdistan as a model for global liberation movements.
In Iraq, buildings don’t simply reflect ideology — they absorb it, transmit it, and sometimes resist it. Especially when left unfinished.
Somewhere in Tehran, a child feels the same incomprehensible terror as foreign missiles fall, just as the writer once did in Baghdad.
Hassan Blasim’s work is not imitation. His is a voice forged in exile, and steeped in the paradoxes of displacement.
An NYU professor who has frequently taught this Iraqi novel finds that two months into Trump 2.0, its significance has shifted considerably.
Baxtyar Hamasur has dedicated his life to stories, even wearing a pair of story glasses. “I see everything as a story,” he says.
TMR's November issue deliberately eschews the binary and inspirational relationship between the proverbial “man and beast."
The November 2024 featured artist is the late German-Iraqi sculptor Lin May Saeed, much of whose work celebrated the animal world.
Gatekeepers of Baghdad decide who lives, who dies, during 2019 protests against high unemployment, state corruption, and poor services.
Art, activism, archaeology, and archiving are crucial for rebuilding and healing cities by combining the past and present.
To celebrate the forthcoming publication of Selim Temo's "Nightlands," we present an introductory essay and two poems from the Pinsapo Press edition.
Iraqi novelist Diaa Jubaili's short story, translated by Chip Rossetti, portrays dolls as unlikely victims of life under the Islamic State.
From sound and installation to sculpture & photography, art and a history of violence collide in Rushdi Anwar’s new show.
What shall we forget and what shall we remember, and can forgetting also be a force for good? The editors inquire.
Photographs of Iraqis imply doom due to generational violence, even in happy pictures.