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BIO-
⋓ Daughter of the Soviet collapse, adoptee of rivers and open roads, Lital Khaikin is a writer who has contributed features on mining and the environment, conflict, migration, and labour to FairPlanet, The Breach, Canadian Dimension, Toward Freedom, Warscapes, and Briarpatch. She has contributed journalism and essays on the arts and social justice issues to MARCH journal, REDEFINE Magazine, Guerilla Magazine, Herd Magazine, The Brooklyn Rail, and elsewhere.
Also a writer of fictions, she has written a novella called flight (2024, Sublunary Editions), and is working on two novellas dubbed nigredo and rubedo. A chapbook-length poem Outplace was published once upon a time in a limited run in San Francisco (2017, Solar Luxuriance). Other miscellany has appeared in publications including 3:AM Magazine, Queen Mob’s Teahouse, Berfrois, Tripwire, and the “Vestiges” journal by Black Sun Lit, among others. Her literary work explores precarity and poverty, transitory lifestyles, sexuality, and the liminal space of tension between political violence and relational intimacy.
Intermittently between 2015-2022, she was a contributing editor for the experimental publishing collective continent. Between 2017-2020, she ran a small artist press called The Green Violin through which she published leaflets, chapbooks and other free lit, including The Sparkplug broadside. She has also produced the publication [espace variable | placeholder] for La Centrale. ⋒
-GRAPHIE
⋓ Descendante de l’effondrement soviétique, adoptante des rivières sauvages et des chemins libres, Lital Khaikin est une écrivaine qui a contribuée des reportages sur les impacts de l’exploitation minière et de la politique étrangère canadienne sur la culture et l’environnement à FairPlanet, The Breach, Canadian Dimension, Toward Freedom, Warscapes, et Briarpatch. Elle a publiée des articles sur les arts et les questions de justice sociale dans MARCH journal, REDEFINE Magazine, Guerilla Magazine, Herd Magazine, The Brooklyn Rail, et ailleurs. Son journalisme concerne la culture, les conflits, et l’environnement dans des lieux en transition et en marge des destinations, où la remarque en passant devient l’histoire principale.
Également autrice de fictions, elle a écrit une novella intitulée flight (2024, Sublunary Editions), et travaille sur ses prochaines novellas intitulées nigredo et rubedo. Un poème en forme de chapbook, Outplace, a été publié en tirage limité à San Francisco (2017, Solar Luxuriance). D’autres méandres sont parus dans des publications telles que 3:AM Magazine, Queen Mob’s Teahouse, Berfrois, Tripwire, et la revue “Vestiges” de Black Sun Lit, entre autres. Son travail littéraire explore la précarité et la pauvreté, les modes de vie itinérants, la sexualité et l’espace liminal de tension entre la violence politique et l’intimité relationnelle.
Par périodes intermittentes entre 2015 et 2022, elle a été rédactrice pour le collectif d’édition expérimentale continent. Entre 2017 et 2020, elle a dirigé une petite presse d’artiste appelée The Green Violin, grâce à laquelle elle a publié des dépliants, des livres de chapitres et d’autres publications gratuites, y compris The Sparkplug broadside. Elle a aussi produit la publication [espace variable | placeholder] pour La Centrale. ⋒
“If I didn’t define myself for myself, I would be crunched into other people’s fantasies for me and eaten alive.” — Audre Lorde
“War and prison are the two most important words in the Russian language. Truly Russian words!” — “The Story of a Love Affair”, Olga Karimova ; “Secondhand Time: The Last of the Soviets,” Svetlana Alexievich.
“Des tas de SEULS!” – Benjamin Fondane.
“The only privilege of poetry – and it is not a negligible one – is that it does not oblige anyone to think what he speaks.” – Lev Shestov.
“A man ceases to love humanity, and then individuals, as he advances in the chase after wealth; as one clashes with his interest, the other with his pleasures: to business, as it is termed, everything must give way; nay, is sacrificed, and all the endearing charities of citizen, husband, father, brother, become empty names.” – Mary Wollstonecraft
“… angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night,
who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz,
who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated […]
who wandered around and around at midnight in the railroad yard wondering where to go, and went, leaving no broken hearts” – Allen Ginsberg
“The oppressors […] tranquility rests on how well people fit the world the oppressors have created, and how little they question it.” — Paulo Freire
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Lital Khaikin 