_ALL THAT IS COMMON / A MAGAZINE OF NEW WRITING AND IMAGES
ISSUE ONE : ANDREW ADSHEAD DESTORATION / HANNAH FORBES BLACK AUSTERITY AGAINST AUSTERITY The political rhetoric of the current debt crisis frames the past as a collective riotous plenty that must now be followed by general atonement. Greek prime minister Theodoros Pangalos gave the famously provocative justification, 'My friends, we all ate together,' as if workers and bureaucrats ever sat at the same table. UK chancellor George Osborne echoes this false universality with the Tory mantra, 'we're all in this together' – collective guilt to match the collective debt. The vanishing horizon of recovery reveals capitalism's teleological tendency: all must suffer so that an unimaginable future can be salvaged. / MATTHEW CLEMENTS CONFICKER / JESSE DARLING UNCOLLECTED WORKS / HONOR GAVIN 1938-B3 The piss fizz foams. The bab's petticoat tickles the turf. The cathedral stone slowly churns, as stone does in the dark. In the glass eye of a horrorfried shepherd I could engineer a twinkle, but I don't: no one would notice I if did, so I don't. It is dark, like. The stained-glass windows have none of their colours. The deep soft stone just dully hums. I dully hum. / ADAM KAASA THE IMPORTANCE OF BEING SEEN In 1935, the short-lived experiment between Roger Caillois and Surrealism produced a notable essay about mimicry in the Surrealist journal Minotaure. Caillois used a discussion about mimicry in nature – an insect mimicking the appearance of a flower, for instance – as a way to think critically about the unconscious. One of Caillois' examples was the Phylliidae – leaf-insects whose outward appearance mirrors, to uncanny specificity, their surrounding foliage. / RICHARD MARTIN THE LIBAN QUARRY These days, Krakus Mound is somewhat isolated from the neighbouring residential areas by a web of daunting roads, though it does offer a handy congregation-point for teenage lovers and drinkers. The eerie excavation which adjoins it, moreover, is one of the strangest and most compelling sites in central Europe – a place where historical memory and the cinematic image are in peculiarly fraught negotiation. This is the Liban Quarry. / JON REVELL AND CARLO ZAMBON NOW I UNDERSTAND WHY THE FUTURE WHICH IS NOW PAST LOOKED SO DEAD AND SHROUDED