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 email@example.com. 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 firstname.lastname@example.org 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.
John Stezaker — Bubble VIII
A symbol of terrestrial and national pride, the three-by-five foot American flag is nonetheless ignored by the moon’s vacuum, and the force which sends ripples through its stars and stripes is the force implanted by the men who set it in the dust. Somewhere between a junkyard and a graveyard, the lunar surface now hosts over twenty tons of detritus from previous missions: probes, rockets, rovers, boots, and visors — litter and life-support machines from half a century of exploration. There are man-shaped machine parts strewn between footprints that will last forever, in inches of dust: a size nine-and-a-half signatory on a carbonic paper crust.
Black Minnaloushe stared at the moon,
For, wander and wail as he would,
The pure cold light in the sky
Troubled his animal blood.
W. B. Yeats’s poem 'The Cat and the Moon' (1919) is regarded to be an allegorical depiction of his relationship with his muse Maud Gonne MacBride, who had rejected at least four of his marriage proposals. The black cat Minnaloushe belonged to Maud Gonne, and in this poem could be seen to represent Yeats himself, dancing around in courtship for the changing phases of the moon, his feline eyes locked into its wane and wax. Minnaloushe’s troubled ‘animal blood’ is a metaphor for unrequited love, as its vitality and warmth in contrast to the cold purity of the moon would give its lavender glow a forensic quality, as if to illuminate the futile hopes of Yeats.
Moonlight is troubling. Moonlight, the pure cold light in the sky, is the colour of the torch of the observation tower. It is the potion which denudes the man with something to hide. It dissolves the human to unveil the werewolf.
Moonlight — or rather light which touches the surface of the moon — or rather, rather, light which does not touch the surface of the moon — is fuel to the fire of doubt, doubt of the official narrative, doubt harboured by those who deny that men set foot where the light does not go. The shadows suggest many light sources they say; they stretch too far, they stretch too little. Shine some light on the problem to illuminate the truth. This is a studio. These shadows represent the ghouls of the Cold War, nothing more. Man did not set foot on the Moon.
There it is. As clear as ever. Clearer. Unashamedly naked: pox, furrows, bruises, acne exposed and luminous. Look again. The pinched pole is not where it should be. The orb so often called an eye averts its gaze upward — away from Earth’s lustful gravity, and outward to find a new suitor. Where once was the horseshoe of seas, Tranquility, Fertility, Nectar, is now a pyre — a fire burning in a vacuum — a transmittal of souls, endless, endlessly, into the ether.