iiii Magazine is an independent arts and culture publication, based in London and Manchester. We talk about culture in the sense suggested by Francis Bacon, when he said of intellectual enrichment: 'the culture and manurance of minds’. Our approach to culture is the same: that something bright and engaging may be derived from detritus. We love cultural ephemera in particular, and despite Bacon’s near-perfect turn of phrase, it is the position of the magazine that it is not sufficient. We publish articles that stretch our assumptions of what culture can be, so long as they are forged with originality.
We place no limits on subject matter or form — we have published incisive criticism, personal essays and memoirs, humour pieces and odes to oddities — but we take as a guiding principle this from Flann O’Brien’s The Third Policeman (1967):
‘Always ask any questions that are to be asked […] Turn everything you hear to your own advantage. Always carry a repair outfit. Take left turns as much as possible. Never apply your front brake first’.
¶ Visit Our Shop
Support the magazine by visiting our SHOP.
~ With the help of Studio Hyte, we created a football (scarf) with no crest, no local, nor national allegiance — a garment that challenges the ugly attitudes that alienate so many from the beautiful game.
~ As well as looking fresh, your (scarf) is also doing its bit to address the aforementioned issues, with 10% of all profits raised donated to LGBT charity Stonewall (Charity number: 1101255)
¶ Work With Us
iiii Magazine is a non-profit organisation, and our modest team of editors, reporters, and social scribes work on a voluntary basis. We do have plans to address this in the future. As it is we are looking for a creative, driven individual to join the team, to help shape future editions. If you would like to work for iiii Magazine, do send a CV and a cover letter outlining the sort of role you would like to take to firstname.lastname@example.org. We will do our best to get back to you quickly.
¶ Forthcoming Editions
A Publication by iiii Magazine: A look at football culture through twenty classic kits
(crest) is a book that entwines history, design, and football culture to enliven debate about belonging — both local and national — in a fractious British and European moment. Classic football kits are artefacts highly sought after by collectors and fans alike. Is this a question of design, of a club’s success, or of nostalgia? Can it be all or none of these things? In twenty short essays by twenty writers, (crest) charts the peculiar histories of each of the 2018/19 Premier League football clubs through the lens of a prized classic kit from the past decades. The book takes football seriously at its root, and looks at how larger forces drive the sense of allegiance of football-loving individuals — what hidden personal stories make the Beautiful Game beautiful when it can seem so ugly?
Produced by iiii Magazine, (crest) will feature quality photography and minimalist design. iiii encourages deep and engaged archival research, as well as idiosyncratic and strange personal stories. Whatever the mode or the form, iiii Magazine is committed to providing generous editorial support to writers.
The online publication continues all year round, and publishes articles in three broad categories:
- Esoterica and funny writing [the stranger, more parochial, the better]
- Long-form interviews and features
- The 500 [react, respond in 500 words to an artefact, a lyric, a piece of punctuation, anything]
If your text does not fit into one of the above categories, don't fret, we just need a pitch. Please send a query or an extract from your text to email@example.com with SUBMISSION in the subject line. Work should be previously unpublished; but we will consider work under consideration elsewhere if you let us know. We are run by a team of volunteers, and thus we are unfortunately not yet in a position to offer a fee.
Please provide a short author’s bio-line which will be published under your piece. 'Algenon Overling is a fictional writer based in 12th Century Denmark. He likes to relax with his kestrel and his crossbow. Good with kids’.
Please defer to the short style guide. It not only saves on editorial nit-picking, but illustrates commitment to the publication.
- Oxford commas, yes. In lists of three or more things, include a comma between the final two, before the ‘and’ (Manchester, Leeds, and London).
- Titles of books, films, exhibitions italicised. Titles of artworks ‘Like This’ (2018).
- One space after full-stops. Always.
- ‘Use single quotation marks “except for quotes within quotes” at all times’.
- Include spaces before and after em-dashes. (I wouldn’t — but for in unlikely circumstances — consider a teacake).
- Dates: 5 May 2016 / Decades: 1980s.
- Special formatting requirements are difficult to manage on an optimised website, but we will always try to meet a writer’s needs.
Derek Jarman - Sebastiane
To celebrate twenty years of power, Emperor Diocletian organises a grotesque and gorgeous jubilee. From his crushed velvet throne, the emperor watches the obscenely red tongue of a dancing man flicker and protract. A chorus of men goad the dancer with their exaggerated papier-mâché cocks, coating him with lashings of semen. On the ground, the dancer quivers with tortured pleasure. So begins Derek Jarman’s first feature film, 'Sebastiane', released in 1976, and spoken entirely in Latin. After the carnivalesque colours of the opening scene, the setting shifts to the sand dunes of a remote desert location. Unlike the historical Sebastian who was nursed back to health by Irene of Rome, following the Emperor’s first execution order, Jarman’s saint is surrounded by only men 1.
According to accounts from the mid fifth-century, Sebastian is supposed to have survived his execution by arrows with the help of Irene, only for Emperor Diocletian to sentence him again, a conviction which he could not survive twice.
Sebastiane is part of a rambunctious legion, ruled by the tyrannical Severus. The soldiers are relaxed about the homoeroticism of their group. They tease each other about female and male objects of desire in the same breath; they wrestle and fight, kiss and fuck; sex seems to be a natural part of their bravado. Two characters refuse to participate: Severus and Sebastiane. From his steely lustful stare, and the camera work which picks out the sculptural details of Sebastiane’s slim, tanned body, it is apparent that Severus is tortured by unfulfilled desire. Sebastiane rejects Severus’s desire, not because it is homosexual but because it is human. During the punishments which ensue — shackles, whips, burning wax, prolonged exposure to the sun — Sebastiane seems to come closer and closer to his God. When his motivations are questioned by Justin, the only sympathetic member of the group, Sebastiane replies, ecstatically, ‘I love him. He is beautiful’.
Jarman’s film reframes Sebastiane’s martyrdom, changing it from a sacrifice endured to a pleasure enjoyed. In the final scene, Sebastiane appears as the saint is typically depicted, bound, his body pierced with arrows. Jarman mutes the goriness of this climax by removing synchronized sound; we do not hear the whistle of the arrows, or the flesh splitting upon impact. As a result, the unrepelled viewer can observe the naked Sebastiane in a state of arousal, or as Jarman puts it in his original script, ‘he has a hard on’. 'Sebastiane' is a fearless queering of religious mythology. Sadomasochism and homoeroticism are devoid of deviancy; they are the tenets of sublime faith, a love to die for. Jarman’s seductive and strange debut continues to surprise, no longer because of its uninhibited portrayal of male homosexuality, but because of the banishment of shame from its iteration. 'Sebastiane' loves and it is beautiful.