Ana Kinsella | Tolka, Issue One, Feb 2023 Entry My first home in London is a houseshare with five Icelandic artists. The flat is a maisonette with a small garden on a Shoreditch housing estate, and the garden is neglected, with a fringe of bamboo taller than any of us. I find it through a friend of a friend and take the room without viewing it. These facts are enough to make me feel legitimate and deft at being in the city, despite my newness. I’m a natural. It is not my first time living away from home, but it is the first time that it feels meaningful, a page turned rather than merely interrupted. I have a job, sort of, and a course of study, and people to have dinner with at the wide pine table whose grooves and knots I can still feel under my fingers. The East...

Nidhi Zak/Aria Eipe | Tolka, Issue Two, June 2022 In 2008, Marcella Beccaria, curator of the Castello di Rivoli Museo d’Arte Contemporanea, commissioned a solo exhibition by celebrated artist Roberto Cuoghi. Šuillakku – as the show was to be titled – would represent lamentations for the fall of the ancient Assyrian city Nineveh. The pièce de résistance was a sculpture of Pazuzu, a fiendish demon of evil spirits and keeper of frigid winds which were thought to bring blight, famine and pestilence. The Met Museum’s description of Pazuzu offers: ‘He stands on two legs and has human arms ending in claws with two pairs of wings, a scorpion’s tail, a snake-headed erect penis and a horned, bearded head with bulging eyes and snarling canine mouth.’ Cuoghi’s nineteen-foot-tall Pazuzu dominated the third floor above the entrance to the castle in Turin, a towering threat keeping watch over the unwitting visitors. Cuoghi...

The Hanged Man I associate the tarot with my early teenage years, a particularly disempowered time when there was nothing to do but when every moment was saturated with an indefinable yearning. At fourteen, I couldn’t even get a job as a lounge girl in the local pub, the means by which most of my friends gained some independence, working there after school and sneaking drinks with the barmen after closing. I wandered around town with my printed-out CVs, dropping them in front of managers who binned them as soon as I left the shop. In those days, time stretched and warped around us. We were waiting for something external to come and change our lives. The tarot promised us a message from the beyond. The Hanged Man smiles as he hangs upside down. I often drew this card as a teenager, and his expression troubled me. That (ironic?) smile...

Brian Robert Moore | Tolka, Web Only, June 2023 In Italy, no author is as commonly associated with auto-fiction – or with the murky limbo that exists between fiction and non-fiction – as Walter Siti. Through his first three novels, which formed a ‘fake autobiography’ culminating with Paradise Overload (Troppi paradisi) in 2006, Siti proved that the self can be as effective a means as any for probing the obsessions, ills and ecstasies that characterise contemporary Western society. Even as the figure of Walter Siti has moved into a secondary role in much of his writing, his novels have continued to meld an almost investigative rigor with emotional depth and a uniquely propulsive style. By portraying and deconstructing contemporary Italy from the inside, Siti’s writing has captured how no facet of modern life – even, or especially, love and sex – can exist detached from macro systems of money, media...