The 19th piece in the Polity of Literature series tells the story of one neighbourhood’s effort to make its own reading room when the local library branch closed.
The 16th piece in the Polity of Literature series contemplates Arendt’s idea of a plurality that can be enacted in the agora of a written text or in the public square.
The 13th piece in the Polity of Literature describes the illustrator’s process in making a graphic novel about Hannah Arendt’s life and work.
The 12th piece in the Polity of Literature series is an excerpt from The Faces of Justice (1961), a description of trial court procedures observed with the writer’s fierce sense of justice.
The 10th piece in the Polity of Literature series studies the encounter of the asylum seeker with the host nation, and the processes that determine the refugee’s legal fate.
The 6th piece in the Polity of Literature series looks at the zines and communities of resistance created by resourceful children in the Nazi’s horrific Terezín ghetto.
The 5th piece in the Polity of Literature series introduces over 2,000 works held in the online archive—many unread, unedited, and free of intervention by publishers.
![“Reading <em>1984</em> [in prison] was a big mistake…”](https://artseverywhere.ca/artseverywhere/wp-content/uploads/2020/04/PoL04-banner.jpeg)
The 4th piece in the Polity of Literature series invites prisoners to tell about the books they read, how they got them, and what reading means to them.
The 3rd piece in the Polity of Literature series covers the 2020 trials of sixteen people charged with threatening to overthrow the Turkish state in 2013.
The second piece in the Polity of Literature series was written from a Turkish prison, smuggled out by the writer’s lawyer, and published in multiple languages.
The first piece in the Polity of Literature series examines the ways that literature—the political space of writing and reading—can host the gathering of equals that Hannah Arendt calls a “polity,” and grant agency and belonging to the stateless, incarcerated, or displaced.
In the world’s most secure prison, ADX Supermax, an artist-turned-chaplain and a local muralist set out to bring art to some of some of the world’s most notorious federal inmates as a means of transformation and, hopefully, redemption.