Eda Gunaydin

When I tell my publisher I might be late on delivering the last essay of the book, the real book, the one I have under deadline, she is understanding and commiserative.

Institutions perpetuate themselves and, being geared towards their own reproduction, they make it so that the incentives to complain are few, especially for those of us who want a future in the academy.

That the unit of the individual is too small to enact political transformation is the simple wager that Jodi Dean uses to open Comrade. It is a work of political theory that is well-timed, as neoliberal states have failed their citizens en masse and ideas such as solidarity and mutual aid have threatened to go mainstream in the West.

On the internet, another name for confession is over-sharing, and it has become synonymous with how we use social media platforms. People can’t get a hold of me over text, but they can just read my tweets: it’s all there, every beat of my mental state.

In 2017, I found myself back where I began, in Parramatta. I was excited to make a difference in my community through my new job: as a producer for a local literature organisation. The work felt like it was going to be important, and I felt like it had to be me who did it. All my life I had been a chubby, crooked-toothed, glasses-wearing nerd – not a self-declared nerd, either, and therefore the bad kind. I had been fortunate to discover literature at an early age, and spent most of my formative years at Max Webber Library or the Angus & Robertson in Blacktown Westpoint, accumulating a tiny empire of books which I buried myself into, to make up for my dearth of friends or much else.

‘I am really interested in the language that my family speaks, and one day, in my head, I’d like to write a book around all of the idioms I’ve been taught, because Turkish idioms are so much more complex, as well as profane, than English words.’