2024
Extract: “I’ve been a bit worried about writing this letter in this way, perhaps it makes me look naive or narcissistic, beginning something to answer my own questions, including people here that were called to contribute, revealing the flaws already in my system of outreach; you’ll see how far my network connects, how I have focused on a few rather than many, intentionally making a mistake of being in confined quarters of knowledge, that I hope with this–in SISSY ANARCHY–over time extends beyond myself and becomes entwined with all, everything and everyone, representing progressive potential, reaching into the domestic communal and realising these spaces as the public political, weaving anarchist-socialist-communist thinking so that it might become an attentive attack on the capitalist economy through organising and sharing alternative models of care. But, whether deemed a facile attempt, it’s an honest one that focuses on the experiences of those inscribed here; what has happened to them, how they have come to understand the world(s) around them. They all give voice to something I can only come to understand through their voice and what I’ve learned most is that everything around us doesn’t have one voice but many; revealing intersectional activism(s) that coincide together in correspondence with one another.
Moving beyond points of philosophical reasoning, I’ve given away my autonomy by following their visions, writings, essays, poems, activisms, photographs, and all else here, to be witness–with you–on what converges and creates a radical politics against racism, transicide, femicide, and ecocide through abolishing the state and defunding militarisation, incarceration institutions, and the police; beginning with a call to question on manifesto. Considering, what needs to be included (as an imperative) into a manifesto for queer archaism, socialism, and communism. Questioning, where does queer theory and artistic practice intersect with grassroots activism? How do you contribute to and build a manifesto to something in a decentralised way that is in the process of forming? Do we need cohesion and certainty in manifesto or can we contradict and overlap concepts, intertwining historic activism with contemporary organisation and theory?
All of these are things that matter to me, maybe they will to you too or they might not, either way I don’t give a fuck because it’s out there and it’s important and that’s what counts. Anyone can do this–and this is by no means the best example–but this is an attempt to start, and I hope to see it continue as it is unequivocally–in my opinion–of equal and shattering importance as the other things you flip through or fill your mind-space, bookshelves, archives and libraries with; all of which I nod toward as the forefounders in the creation and navigation of what SISSY ANARCHY is for and against.
I will no longer be suffocated by the conservative, tortuous and mediocre, apathetic scum; and so I present you with those that are chic, slutty, and cunty on a quest for similar salvation. Without you this isn’t possible: LEE RAE WALSH, DONNA MARCUS DUKE, SAM MOORE, AILO RIBAS, SWEATMOTHER, L SCULLY, MAGGIE VON SACHER, MISHA HONCHARENKO, MAUD ACHEAMPONG, MAYAH MONET LOVELL, BARNEY PAU, YOUTH SELF DEFENCE GROUP, JOEL DIXON.“
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2024
Extract: “I understand my departure from holy conceptions as something to subvert into other revelations. As you will see here, beneath each word, photograph, activism, and vision, there exists a gesture of movement in creating a trans queer (angelic) anarchism. Each contributor gives up their environment, their daily encoded stances, to define with me here — in what has become such a tender edition of SISSY ANARCHY — a world where boundaries are stretched and obliterated. This issue invites you to collude with their thoughts on the A1 graph, where all contributors share a phrase, thought, or tool which they believe is essential to a trans queer anarchism. Please use the space left blank for you to include something vulgar, acutely alien, or completely unfathomable yet essential in the stance of ending imposed violence, marginalisation, and turmoil. Once you have filled in your section, please scan or photograph your poster and send a copy to me. All issues of this edition will be different by the marks made by its readers. Be bold, slut.
SISSY ANARCHY #2 is nothing without the contributions of: JEAN CLEVERLEY, JOEL DIXON, DONNA MARCUS DUKE, BENJAMIN FREDRICKSON, JORDAN HEARNS, MISHA HONCHARENKO, IAN IVEY, HESSE K., MAYAH MONET LOVELL, SAM MOORE, D MORTIMER, BARNEY PAU, L SCULLY, PISSED OFF TRANNIES, AILO VILLAN, LEE RAE WALSH.“
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Sissy Anarchy
2025
‘Hot on the heels of his poetry debut, Skin of Nocturnal Apple, Misha Honcharenko returns with Trap Unfolds Me Greedily. The book is a floating, poetically-inclined anti-novel about the terror of living, the way the past holds us hostage, and the fear of death–or at least its abruptness. Dread suffuses the thoughts of our narrator as his strange and estranging syntax leaves us bewitched and unnerved. The book doesn’t let up, cedes no corner, and leaves a mark. What more can we ask for?’
— Nate Lippens, author of RIPCORD and My Dead Book
‘Misha Honcharenko’s new novel is a surreal adventure into language. There’s a visceral horror to the text, but the sentences have a wild abandon that brings to mind the queer freedom of the poems of John Ashbery. We are taken through a fairground mirrored world of bodies, childhood, the past, war, violence and moments of engulfing silence. Honcharenko’s voice and style are fresh and a pleasure to read. Given some of the personal circumstances that the book was written under, the fact that Trap Unfolds Me Greedily is here at all is nothing short of extraordinary. I urge you to get behind this project and support a great book from a brilliant young writer.’
— Thomas Moore, author of Your Dreams
‘Trap Unfolds Me Greedily is tender, urgent, transcendent work. Like poetry, you don’t know where it’s going to go next, but every line promises it will be somewhere delicate and chaotic and true.’
— Lauren Elkin, author of Art Monsters
‘Trap Unfolds Me Greedily is a novel—or something like a novel—that abandons the established laws of language in favour of creating, with the violent and elliptical strangeness of its sentences, a new kind of grammar: one whose effect on the reader is not merely intellectual, but psychically overwhelming. It is a book designed to be felt as much as read. War is hell; here is a record of its heat.’
— Philippa Snow, author of Which as You Know Means Violence
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2025
FEATURING: Shon Faye, Jackie Ess, Precious Okoyomon, Constance Debré, Melissa Febos, Torrey Peters, Carmen Maria Machado, Sarah Aziza, Constance DeJong, Sophie K Rosa...
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Worms Publishing
2025
It Takes Time to Build Castles is a raw and evocative exploration of memory, survival, and self-reclamation. Through a tapestry of poems, Sky Dair crafts a deeply personal yet universally resonant journey—one shaped by familial bonds, the weight of inheritance, and the ever-changing landscape of home.
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Worms Publishing
2025
Retail Therapy is a raucous and darkly funny meditation on consumerism, survival, and self-worth in an era of economic decline. Through biting dialogue and immersive detail, Jess Cole crafts a vivid portrait of working life on the crumbling high street—where ambition collides with corporate indifference, and identity is both a performance and a commodity.
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Sissy Anarchy
2024
SISSY ANARCHY is poised to redefine the boundaries of confessional literature with a groundbreaking new journal series. Prepare to be confronted with a raw and unflinching exploration of the human psyche as genre-defying writers delve deep into the corners of their personal experiences.
Our inaugural journal, KNOTS by Fi Kube, is a searing auto-essay that unfurls the knots of personal trauma. With unflinching honesty, Kube confronts the complex and intersecting issues of trans misogyny, child sexual abuse, and sexual and gendered violence. This unflinching exploration invites readers into a realm of profound vulnerability and resilience.
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2023
FEATURING: Tyson Yunkaporta, Isabel Waidner , Jamaica Kincaid, Melissa Broder , Evelyn Araluen, Bruce Pascoe, Octavia Bright, Nora Treatbaby , Nerea Calvillo , Anne Waldman , Alexis Pauline Gumbs , Léuli Eshrāghi, Madeline Cash , Andreas Malm, Rebecca May Johnson...
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Worms Publishing
2023
From Sky Dair and Clem MacLeod comes ‘Remember You Are Loved’, a Worms publication, and the sequel to 'Kind is Cool'. Accompanied by an essay by P. Eldridge, this A5 collaborative photo book is a meditation on the messages that we see in our daily lives, and encouragement to look for signs of serendipity. Lucky to be here.
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2023
FEATURING: Diamond Stingily, Helen Marten, Nicole Rudick, Niki de Saint Phalle, Martine Syms, Olivia Laing, Dr. Joy James, Jordan Weitzman, Wu Tsang, Derek Jarman, Sabine Mirlesse, Misha Honcharenko, Chantal Akerman, Joanna Novak, Annie Ernaux, Daisy Sanchez, Jenna Sutela, Anicka Yi, Tuomas A. Laitinen, Stephanie Comilang & Simon Speiser, Valerie Solanas...
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Worms Publishing
2022
From Steph Francis-Shanahan and Clem MacLeod comes ‘Kind is Cool’, a Wormspublication of words in the wild. Accompanied by an essay by P. Eldridge, this A5 collaborative photo book is a meditation on the messages that we see in our daily lives, and encouragement to look for signs of serendipity. Be patient, don’t push.
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2022
FEATURING: Sheena Patel, Nada Alic, Cosey Fanni Tutti, Elvia Wilk, Ann Rower, Chris Kraus, Ghislaine Leung, Yelena Moskovich, Lola Olufemi, Sam Moore, Isabel Waidner, Cecilia Pavón, Ear Worms x Late Works...
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Writer & Editor
pierce.eldridge@gmail.com
Substack
In 2025, she was announced as artist in residence and activist partner (at the 2025 Amnesty Amplify Summit) with Amnesty International, working together to distribute the “Trans Inclusive Bathroom Access Initiative Stickers” designed by SISSY ANARCHY; and awarded the Rising Star Award by The Printing Charity.
Her work has appeared in Flash Art, Studio Magazine, CIRCA, and more; and she has interviewed artists and writers such as Judy Chicago, Juliana Huxtable, Shon Faye, Cortisa Star, Danielle Brathwaite-Shirley and Torrey Peters. She has edited writings by Chris Kraus, Anne Rower, Estelle Hoy, and Octavia Bright, and her practice has been featured in DAZED, Service95, AnOther, and at Tate Modern, to name a few.
Director and Editor of Worms World C.I.C. (also known as Worms Magazine and Publishing)
Co-Founder and Facilitator of The Compost Library
Contemporary Museum Education (Diploma), Pratt Institute
Business Advanced Marketing (BA), Royal Melbourne Institute of Technology
Applied and Contemporary Theatre (BA), Griffith University
Photographic Mythologies (Cert IV), TAFE Queensland
Visiting Practitioner (Full Term), The Royal Central School of Speech and Drama, March 2023
Freelance Communications Manager of Studio Scilicet, founded by artist Sougwen Chung, currently in collaboration with Studio Wayne McGregor and acquisition collection for Victoria and Albert Museum, 2022
Graduate Ambassador for RCA Curating Contemporary Art: Writing Intensive for November, 2022
Festival Coordinator of Pop Up North Queensland Festival (PUNQ) for Umbrella Studio Contemporary Arts, 2019–2022
Exhibitions, Website and Marketing Coordinator of Modern Times, 2016–2018
Photography Instructor of Photoh, 2013–2016
Trap Unfolds Me Greedily, book launch for SISSY ANARCHY (Housmans Bookshop)
Whatever happens, you’re my sister, an exhibition of trans femme work (Feminist Library)
KNOTS, journal launch for SISSY ANARCHY (Housmans Bookshop)
Tusk Chicago, featuring SISSY ANARCHY
Queer Ecologies Poetry Readings and Zine Launch, editor and host (Sutton House)
The Compost Library, special edition event with Cremate (Fieldworks)
SISSY ANARCHY: Be A Sissy Fundraiser (SET Social Peckham)
Dazed x Page Masters Book Fair (Dazed Space)
Sticky Fingers Publishing Fair (Leisham Art House)
Launch of SISSY ANARCHY #2 at (Institute of Contemporary Art, London)
Wellcome Collection, zine takeover featuring SISSY ANARCHY
Anarchist Zine Fair (Freedom Bookshop)
Koppel Curates featuring SISSY ANARCHY
Acquisition of Sougwen Chung’s MEMORY (Drawing Operations Unit Generation 2, also known as D.O.U.G.2) (Victoria & Albert Museum)
Circle of Care, installation and performance (Camden Art Centre)
Make Interspecies Relations, online exhibition with Next Door Ari
It Matters What Happens Next, co-curator of public programme with live events, performance and workshop (Camden Art Centre)
Both Ways, Libby Harward, Tony Albert, Bural Bural (Patsy Dallachy), Gail Mabo, Jupiter Mosman, Captive Lives, Gurambilbarra (Townsville)
From the Desert to the Sea, First Nations artist Stephen Oliver/Sailor of Waanyi, Kuku Yalanji and Erub Island at Big Eye Arts & Cultural Centre, Gurambilbarra (Townsville)
Preserve/Conserve — Invocation #3: Openness - Going With the Flow, Jill Chism, Gurambilbarra (Townsville)
The Mark, Jenny Mulcahy, Gurambilbarra (Townsville)
Drop Bear, Jan Hynes, Gurambilbarra (Townsville)
Untitled (Gloves), Tania Lou Smith, Gurambilbarra (Townsville)
World Interior, Dancenorth Australia, Gurambilbarra (Townsville)
After, Alison McDonald, Gurambilbarra (Townsville)
Site #272, David Rowe, Gurambilbarra (Townsville)
One Journey: Many Stories, Many People, Many Places, Big Eye Arts and Cultural Centre, Gurambilbarra (Townsville)
Pop Up North Queensland (PUNQ) Festival, Gurambilbarra (Townsville)
How Are You (In Isolation)?, Digital Exhibition, Lilli Waters, Andrew Treloar, Dylan Kelleher, Karlo Martinez, Jay Davies, Kate Brouwer, Matthew Woliansky, Brooke Wynn, Helen Adam, Grace Carver, Philippa Gell, Lauren Pietrafesa, Toby Lawrenson, Shay Reeves, Gene Smith, and Grace Cloeman
Joy, Featured Artist in Group Exhibition by Analog Forever Magazine, Online
Relics Today, Sculptural Group Exhibition at Modern Times, Naarm (Melbourne)
Cerberus, Hannah Nowlan, Naarm (Melbourne)
Preservation, Elizabeth Barnett, Naarm (Melbourne)
Outdistance, Derek Swalwell, Naarm (Melbourne)
Light Sensitive, featured artist in group exhibition by Southside Tea Room
The Birth of a Woman Who Once Was an Elaborate Concoction of Man, a writing workshop for Mutate Co. (Toynbee Studios with Royal Central School London)
Social Anarchism & Queer Utopic Ecologies, a writing workshop for Queer Ecologies
University of Arts London Publishing, panelist for SISSY ANARCHY
Bleet Zine, panelist for SISSY ANARCHY (Artwords Bookshop)
Making Collective, workshop for Antiuniversity Now with El Warcha
Artist in Residence in the Everglades (AIRIE), 2024
Koppel Project, October Artist in Residence (Cell Projects), 2024
Creative Development, SUB with Ashleigh Musk, Tasmania
CODEY22, Nextdoor ARI
Creative Development, GUTS Studio / Araluen Arts Centre
The Makers Program, Supercell Festival of Contemporary Dance at Home of the Arts (HOTA) Gold Coast
Bath St Residency, Red Hot Arts Central Australia
Trippin: The Compost Library
Doc 122: On “Love Lost” (An Endless Playlist) / Various (Interlude Docs)
On Your Radar: P. Eldridge (La Fomo)
#69: sissy anarchy, everglades & me, my body (Sent From My iPhone With Love)
Why are we all so obsessed with book clubs now? (DAZED Magazine)
Writing for Wellness (Service 95)
Sensory mixes of the future (Inner Magazine)
Artist Forecast: P. Eldridge (Supercell Festival)
Last Updated 13 Nov 2025
2025
351 Summer Magazine
Extract: “I just learned that I can mutate more than others. I can split myself apart, stretch in and out of my own skin, completely and irrevocably destroy my biome.
I walk into the sacred with blood on my fingertips and shadow stitched into my skin. I am not writing, I’m mapping a wound. This isn’t a study. This is me clawing through the bark of language, trying to name the unspeakable things that live beneath. I am a manufactured woman; therefore, I am a grotesque body.”
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CIRCA
2025
In this expansive and deeply resonant conversation, artist and technologist Danielle Brathwaite-Shirley reflects on the messy, contradictory, and often emotionally charged foundations of her work. From video game engines to public installations, Brathwaite-Shirley’s practice insists on presence, participation, and refusal.
What emerges here is not a neat artist profile, but a process – a catalogue of questions that resist resolution. Speaking with writer and artist P. Eldridge, Brathwaite-Shirley unpacks how technology fails and is hacked into usefulness, how archiving becomes resistance, and how every artwork begins not with a product but with a conversation.
Together, they ask: What does it mean to make work that demands action? How do we build art that doesn’t just reflect trans life but serves it? And perhaps most importantly: How do we make sure the question survives long enough to be answered fifty years from now?
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Flash Art
2025
347 Summer Magazine
Extract: “I get a call from Judy Chicago’s studio manager while I’m washing the dishes in my flat. She asks if I can jump on a call with Chicago earlier than our scheduled time, and when I join her at my computer with suds still on my fingers, we launch into a conversation about the power of hands. It seems appropriate that I should first ask about her drawing practice on the occasion of her groundbreaking publication and major retrospective, “Revelations,” at the Serpentine in London. Bringing together archival and never-before-seen drawings and sketches, across both analog and digital presentations, the exhibition offers a radical insight into what has been foundational to Chicago’s work for more than six decades: themes of birth, creation, and the role of women throughout history in a patriarchal art world. A powerful artistic voice in the feminist art movement of the 1970s, Chicago continues to challenge historical perspectives and celebrate the path toward a more just and equitable world. We spoke about collaboration, empowering women, challenging traditional art forms, and inspiring future generations.”
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Worms Magazine
2025
Torrey Peters reflects with P. Eldridge on writing in Colombia, the politics of trans art, lumberjack alter-egos, and the many forms of love that underpin queer life and literature.
Extract: “I’m sitting cross-legged on a sofa next to Torrey Peters, the late afternoon light slanting across the room as we settle into conversation. There’s a disarming ease in the way she speaks: thoughtful, incisive, and often wickedly funny. We begin with Colombia; not in abstract terms, but in the very real, very lived sense of Santa Marta, where she now spends her winters writing and reflecting on America from afar. What follows is an expansive, roving conversation that moves fluidly between literature and life: on writing from exile, the cultural battleground of trans visibility, and the strange intimacy of gender performance.”
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Studio Magazine
2025
Extract: “Judy Chicago calls me on my cell, and I miss it. I’m rhinestoning a t-shirt with “TRAP 2024” in blue, white, and red gems, a nod toward the diabolical political campaign in the US right now. I listen to the voice note, she’s online and ready to chat. This is the second time I’ve spoken with Chicago. Upon her request, I was invited to reflect with her here on what “REVOLT” means. What follows is a conversation that leads us, in everything Chicago utters, towards an attainable, graspable, social justice practice intertwined with art and its making. As the culture seems to “catch up” on what Chicago’s career has been offering us – nearly six decades of revolutionary work – we see her embrace a new power, accepting the tidal wave of a shifting art landscape that once sought to demoralise her. There’s nothing quite as impressive as seeing an artist, against all odds, decide to make art their reward; an impactful mantra most artists today are struggling to claim for themselves. Chicago has undoubtedly defined – and continues to redefine – Feminist Art, and here we celebrate her body of work and the impact it has created, speaking about the pain of art criticism, the importance of creating an understandable artistic voice, bell hooks, and the transgender future of feminist creativity.”
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2025
Following the UK Supreme Court ruling which deems the legal definition of 'woman' to be based on biological sex alone, P. Eldridge pens a rousing call to arms.
Extract: “We do not need the permission of courts or pundits or politicians. We do not require validation from panels, party manifestos, or editorial columns. Our womanhood is not contingent on your consensus. It is not open for discussion. It is not up for democratic vote. It is not yours to approve. It is ours: lived, sacred, defiant.
Our womanhood is not an opinion to be debated. It is not a position on a talk show, a point of controversy in a manifesto, or a hypothetical for white men in robes to argue about. It is real. It is felt in our bones, in our blood, in every moment we step out the door and dare to exist anyway. It is a lived truth, tested by fire, carried with scars, and proclaimed with every breath we have left.”
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Worms Magazine
2025
P. Eldridge talks with Carmen Maria Machado about genre experimentation and the fragmented, transformative power of love, violence, and memory in literature and life.
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Worms Magazine
2025
In conversation with P. Eldridge, Shon Faye reflects on the aftermath of The Transgender Issue with her latest book Love in Exile, the vulnerabilities of dating while trans, the ethics of memoir, and why love—like exile—is both a burden and a choice.
Extract: “It’s the morning of the Supreme Court handing down yet another ruling against trans rights, and Shon Faye is radiant under studio lights. We're in East London, surrounded by rail tracks and makeup brushes, in the kind of liminal glamour that often defines the public lives of trans women. As the cover shoot wraps, we find a moment to sit together the day following. The mood is both charged and tender; laughter offsetting fatigue, grief braided with insight. Faye, best known for her landmark book The Transgender Issue, is no stranger to navigating public discourse with incisive clarity. But Love in Exile, her latest work, is something else entirely. A memoir stitched from heartbreak, addiction, and spiritual reckoning, it marks a turn inward and, paradoxically, a deeper reach outward. What unfolds between us is a conversation both vast and intimate: about the failure of heteronormative scripts, the politics of romantic visibility, the mess of emotional truth, and the strange, aching joy of choosing to stay; in one’s body, in community, in love. At the heart of it is a question that defies neat endings: What happens when we refuse to be explained, and instead insist on being felt?”
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2025
PSA: Trans lives are not an experiment, and caricaturing transness has real-life consequences
Extract: “I lay in bed, late at night, with the plumes of cigarette smoke being sucked in and out of an open window. In the sinister recesses of a doom scroll, I find cisgender women masquerading as transgender women online in the name of "social experiment.”
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2025
In her monthly column, P. Eldridge drags us into the aftermath of surgery in Paris: swollen, stitched, roses rotting in a turquoise vase, a lover’s hands washing her hair as she breaks. What survives when the body is torn open? Love, or nothing at all.
Extract: “There are roses in a turquoise vase across from me on the floor, opposite side of the bed. Six of them, red, thorns still intact, water already turning cloudy with that faint green rot smell of cut stems gasping. The vase is painted with cherry blossoms, willow trees, figures swirling in celebratory dance, the kind of image that feels centuries old and too alive all at once. The bed is a mattress directly on the ground, no frame, no elevation, just pressed into the floor of a tiny flat. I am in Paris. I am eight days post facial feminisation surgery and I feel like the size of a house, a cathedral swelling in slow motion.”
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2025
Danielle Brathwaite-Shirley’s new multimedia commission for CIRCA asks what we can do, today, to resist today’s breakdown of individual freedoms. In a conversation to launch Trans & Conditions, her new multimedia commission for CIRCA, she begins exploring answers.
Speaking at 180 Studios, the Berlin and London-based artist navigates the intricate intersections of community building, the urgency of political action, and the power of artistic expression in a society whose foundations are cracking. Together with writer P. Eldridge, the duo unpack the realities faced by trans people in 2025, examining the critical role that art can play in resisting the erosion of rights, not merely as a form of representation, but as a catalyst for tangible change, prompting critical reflection and inspiring active engagement.
Brathwaite-Shirley recalls how communities of mutual aid sprung up in working class neighbourhoods and online communities during the Covid pandemic, allowing regular people to support one another, both with words and with resources. “We need to start putting our resources and time into each other,” she proposes.
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2025
Trans rights are more vital than ever, we sat down with P Eldridge to talk about why. This weekend, Trans+ Pride lit up London with power and joy. Among the celebrations are fundraising events hosted in support of P Eldridge’s gender-affirming care; a gesture of solidarity and love from her community.
P. Eldridge describes herself as “a curator, writer, and cultural agitator working between London and so-called Australia.” We spoke with her about what it means to be supported by friends in this way, and why it’s crucial that trans voices are amplified, protected, and heard now more than ever. Keep reading to find out.
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Worms
2024
Extract: “Juliana Huxtable and I meet at her exhibition in London, a week before the American election. I’ve been speaking with her studio manager for a few months, trying to organise the perfect time to speak with one another, deciding together it best to collide in person. Questions I have been forming fade away, instead of specifically focusing on Mucus In My Pineal Gland, Huxtable’s first book of poems and essays, we speak also about the exhibition, writing, her psychoanalytic influences and career thus far. I get a text that she'll be half an hour late and her gallerist decides to show me into a side studio where I can view Huxtable’s new work. The dichotomy of work presented between what is exhibited and currently in process encapsulates where our conversation slips into: how so much of what informs Huxtable’s work, the transference between the digital to the material, is evidently found within the play of making. What follows is a conversation that is strikingly intellectual as it is personable. I’m mostly taken by the sentiment, as emphasised in the title, of when Huxtable says, “I’m really good at embodying the ideas that I want to embody.” Undoubtedly, Huxtable reveals how the mechanisms of embodiment work for her through stream of consciousness writing, digital anarchic archiving, diaristic experimentation in the studio with her band Tongue in the Mind, and taking herself to remote places to dredge up — she, on the precipice of — her next publication which is all about the erotic, pleasurable, anti hetero patriarchal: love. ”
Text and Photos by P. Eldridge
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2025
P. Eldridge chats with rising rap icon Cortisa Star about EMO, her fearless debut EP, and claiming space in the industry on her own terms.
Extract: “When I call Cortisa Star, a rush of excitement hits me – not just because I’m speaking to one of rap’s most electrifying new voices, but because she represents something much bigger. A young, audacious, biracial trans woman making space for herself in an industry that has long sought to exclude voices like hers. As I congratulate her on the upcoming release of her debut EP, EMO, I ask her to introduce herself. To my surprise, she doesn’t lead with self-assurance or defiance. Instead, she describes herself as off-putting – someone who unsettles people, both admirers and critics alike.”
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2025
For her monthly column, P. Eldridge reflects on friendship’s watchful eye, the scrutiny of trans love, and the right to choose – even imperfectly.
Extract: “I’m at the Tate, scouring books at the fair, when I spot a zine titled The Men I Would Do. I laugh and approach the seller – a polite-enough guy with a pleasant smile. He beams as I press an acrylic nail to the cover. I hum, eyes shifting from the bold sans-serif font to his pupils. We linger, eyes locked, until he breaks the tension and asks, “What?” I giggle – first a little, then a lot. “None,” I reply. Confusion flickers. His smile falters. I walk away, cackling.
All my girlfriends are either in long-term trysts or celibate. I’ve stopped talking to them about my dating life. Honestly, I’m tired of it too. Rather than make them endure my half-hearted stories, I’ve pulled back. When I do speak, I’m met with sympathy. “He’s not good enough for you.” “He won’t keep up.” Or worse: “He’s not hot.”
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AnOther
2024
A new wave of indie presses including Worms, Montez Press, Sissy Anarchy, Pilot Press and Sticky Fingers Publishing are offering up much-needed, radical alternatives to big publishing.
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2025
For the cover of Gay Times Magazine, Yasmin Finney speaks to P. Eldridge about the whirlwind after Heartstopper, breaking the mould of trans representation, and why her boldest role is still ahead.
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2025
In her monthly column, P. Eldridge exposes the toxic comparisons and hidden rivalries plaguing trans women's love lives. Can sisterhood triumph over competition?
Extract: “My iPhone refuses to recognise me in the dark, so I drift beneath a streetlamp. Leather, heavy and sharp, grips my calves; Tom-of-Finland boots hammer against the tarmac as I step into the centre of the road. It’s 1am. I’m ruinously tired; that raw, dangerous fatigue that seeps in after one of London’s fiercest summer days. Every pore slick with sweat, and I think: I’m at my most divine when dripping.”
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2025
In her monthly column, P. Eldridge relives a night’s lust and love collided on a city street.
Extract: “It’s all too much inside – the music is a living thing, pulsing thick through the walls, slick against my skin like bad breath.
I slip out to the kerb, lungs straining, heart chewing through the static. Outside, bodies are strewn across the street, laughing, spilling drinks, kissing. I wipe the sweat off my collarbone – mine, someone else’s, who knows – and cut towards a circle of strangers glowing at the edges. Someone hands me a fag without looking. I nod, mutter a low thanks, already stepping back, letting the noise blur behind me. I take to the empty road, humming, and dig for my phone in the pit of my bag, fingers brushing past crumpled receipts and lipstick. My feet ache, but I attempt to walk with my cigarette before ordering a cab.”
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2024
Extract: “My transition is inconsistent even though I’m hypervigilant. I slide out of my skin for a moment, I need rest. What image of myself do I have control of and what belongs to others? I’m not sure I know anymore, there’s no definitive way for me to know how I am perceived. It makes me vitriolic, so much of me below the dermis where moisturiser can’t reach is eviscerated by contemplation. If I can’t poke and prod my exterior, my innards are strangled by thoughts that lattice around each blood cell until I’m choked out, exhausted. This fugue I’m in I must endure, but at least I feel it looks impressive.“
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2025
In the first instalment of her new monthly column for Gay Times, writer P. Eldridge confronts the maddening notion of “posturing” to be desired.
Extract: “I’m in the kitchen making mousse, listening to ‘Leave (Get Out)’ by JoJo, punctuating my lyrical screams with the word “posturing.” I have a box of Palestinian dates, three blocks of dark chocolate, a tray of strawberries, salt and olive oil for garnish, and almond milk simmering gently. The word rolls around my tongue – what the fuck does it even mean, and why am I so obsessed with it?”
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Worms Magazine
2024
Extract: “Sitting to talk with professor, writer, and activist Dr. Joy James is a remarkable gift. We’re discussing what thoughts and theories emerge within the folds of novels on the bookshelf behind me, and within her most recent release In Pursuit of Revolutionary Love: Precarity, Power, Communities. Leaning into conversations about academia co-opting revolutionary activisms and fidgeting with what it means to be an intellectual, we peer through the lens of "academic abolitionism” and the current state of the prison abolition movement, to explore how we can create revolutionary organisation and activisms by burrowing down into compost and soil.”
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TANK Magazine
2024
Misha Honcharenko is a queer Ukrainian artist and writer. He started diarising his experiences on his Instagram profile almost a decade ago, combining weird objects and landscapes with a photographic exploration of himself, all against the backdrop of the Russian invasion. His first poetry collection, Skin of Nocturnal Apple, was published by Pilot Press in 2023. His forthcoming debut novel, Trap Unfolds Me Greedily, is published by SISSY ANARCHY, a platform exploring queer trans anarchism. It's a gru-elling read: an anti-novel with a narrator who navigates the complexities of the immigration system, queerness, war crimes and violence, while grieving the slow passing of his mother. Honcharenko spoke to P Eldridge and Caitlin McLoughlin, founding editor and designer of SISSY ANARCHY respectively, about the novel's relationship to damage, illness, loneliness and hope.
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Worms Magazine
2024
P. Eldridge speaks with Lamya about navigating the intersections of their identity, writing from personal experience, coming out, and writing as an action which promotes action and resistance.
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Worms Magazine
2024
P. Eldridge speaks with Heather McCalden about her groundbreaking debut novel, The Observable Universe; discussing metaphors, grief, and how words make the world more observable.
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Worms x Luncheon Magazine
2023
Extract: “It’s currently bandaged, strapped and bound with tape and aids. All I was doing was cutting some garlic when I sliced right through it. Clear through, there was no forcing the knife’s movement. I released the tension of the knife in my r-hand, and in doing so, the knife drew my hand down in waltz and through the tip of my l-hand’s thumb. The knife was very sharp. I don’t blame the knife and I don’t think my hands are at war with one another. I try to attend to both as equals. Plus, I hadn’t hesitated, I trusted the knife’s movement. I was confident in my hands working together. Up and through and down. Repeat.”
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Worms Magazine
2023
A conversation between writer Misha Honcharenko and P. Eldridge who discuss eroticism in literature and speculative poetics, living through wartime, share tarot readings, and reflect on growing up queer in Ukraine.
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Worms Magazine
2023
Across international waters, P. Eldridge calls Tyson Yunkaporta and meanders in conversation about the contradictions in writing and thought, how ‘wrong story’ colonises the world, Indigenous tokenization, and life as a big relational inquiry.
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Worms Magazine
2023
There’s so much energy when speaking with Evelyn Araluen. With P. Eldridge, she shares details of her favourite stories, the refusal of certain archival processes, savouring knowledge for community, and ‘play’ as her favourite process when writing poetry.
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Worms Magazine
2023
P. Eldridge talks with Alexis Pauline Gumbs about our menopausal planet, what nature is trying to tell us now, and our relationship with oceanic species.
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Worms Magazine
2023
A meandering of thought on Bruce Pascoe in conversation by P. Eldridge.
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Worms Magazine
2023
In conversation with P. Eldridge, Léuli Eshrāghi defines the term ‘hxstories’ and emphasises a vital focus on love and literacy between our ways of being and knowing.
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Worms Magazine
2023
P. Eldridge and Nerea Calvillo discuss what it means to ‘queer’ our understanding of things, how air is constantly mutating, and the groups that toxicpolluted environments affect most.
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2022
Extract: “I have become spectral in Abney. The heaviness of my fleshy particularity flickers. It takes on a new atmospheric identity—a new cosmic materiality—of which ourhumanness has not yet encountered. The elemental in me finds divergent molecular construction. Here in Abney, I’ve come into closer proximity with the spectral.”
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