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’. 

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~ 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.
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¶ 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 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.

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¶ Online

The online publication continues all year round, and publishes articles in three broad categories:

  1. Esoterica and funny writing [the stranger, more parochial, the better]
  2. Long-form interviews and features
  3. 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 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’.

Style Guide

Please defer to the short style guide. It not only saves on editorial nit-picking, but illustrates commitment to the publication.

  1. Oxford commas, yes. In lists of three or more things, include a comma between the final two, before the ‘and’ (Manchester, Leeds, and London).
  2. Titles of books, films, exhibitions italicised. Titles of artworks ‘Like This’ (2018).
  3. One space after full-stops. Always.
  4. ‘Use single quotation marks “except for quotes within quotes” at all times’.
  5. Include spaces before and after em-dashes. (I wouldn’t — but for in unlikely circumstances — consider a teacake).
  6. Dates: 5 May 2016 / Decades: 1980s.
  7. Special formatting requirements are difficult to manage on an optimised website, but we will always try to meet a writer’s needs.



The 500
The Voice of Roger Livesey

Chris Samuel


Still from Michael Powell and Emeric Pressburger’s ‘A Matter of Life and Death' (1946). Image copyright of ITV Studios Home Entertainment. Not for commercial reproduction.

In the climactic scene of Powell and Pressburger’s 1946 classic A Matter of Life and Death, Roger Livesey’s character Dr. Frank Reeves is a guest in heaven, addressing court. He’s operating as defense counsel to his patient Peter Carter, a wartime Lancaster bomber pilot who, due to an administrative error ‘upstairs’, didn’t die when his aircraft was shot down over dover.

The mistake causes panic in heaven, and on earth Peter then promptly falls for June, an American radio operator. Amid bouts of unconsciousness, visions of angels insisting he accompany them to heaven, and celestial stairways, Peter demands that he be given the opportunity to remain alive and in love.

Still from Michael Powell and Emeric Pressburger’s ‘A Matter of Life and Death' (1946). Image copyright of ITV Studios Home Entertainment. Not for commercial reproduction.

A trial to determine his fate is hastily arranged though it’s unclear whether this heavenly summons is real or a symptom of head injury sustained in the crash. Convinced that winning the case may prevent Peter from losing his mind, Reeves agrees to be his legal defender and apparates by his side at the pearly gates.

Leading the case for the prosecution is Abraham Farlan, the first American soldier to die in the American Revolutionary War, and a vociferous critic of British Imperialism. He reminds Reeves that (despite being an Englishman) he is not above the law. ‘Yes, Mr. Farlan’, replies Reeves, raising to the jury a wry, involving brow, ‘but on Earth nothing is stronger than love'.

It’s a sentiment that would be unbearably saccharine in any other mouth, but one that is wielded with grave solemnity by Livesey.

Still from Michael Powell and Emeric Pressburger’s ‘A Matter of Life and Death' (1946). Image copyright of ITV Studios Home Entertainment. Not for commercial reproduction.

And it’s an odd voice for a film star, so unlike the louche mid-Atlantic drawl of Carey Grant, the smothered Welsh of Richard Burton, or the clipped, reedy twittering of David Niven. His is a parched and chasmic rumble rising behind large, ciggie-scorched teeth. Many of his vowels are all but extinct, noises now emitted by only the most willfully anachronistic of Tory backbenchers. ‘Found’ is rendered as ‘farynd’, and Paris is ‘Peris’. ‘Ns’ bleed into succeeding words, an elongated springboard for the next part of the sentence: ‘we must winnnnnn or lose his case tonight!’.

In a conventional narrative Reeves’ professed admiration for June early in the film might be a point of conflict. Spotting her in the village, Reeves summons Byron, ‘She walks in beauty, like the night…’ but, a prisoner of propriety he concludes, somewhat absurdly, ‘only she’s cycling and it’s daytime …’ his voice a sad, ruminant thrum that seems to recognise his lack of the recklessness required of a romantic lead.

Livesey was the star of another Powell and Pressburger classic, ‘The Life and Death of Colonel Blimp’, with first-choice Laurence Olivier unable to take the part due to contractual constraints. And Powell was well-aware of the effect Livesey’s voice and persona would have upon the role: "The only change was that instead of having a vicious, slashing, cruel, merciless Colonel Blimp we had a dear old bumbler and of course everybody loved that".

Even then, as a relatively young man, Livesey’s sort were on the wane: dear old bears soon to be skinned by a tribe of hard-drinking, irreverent and above all, ‘angry’ young actors. Livesey’s voice didn’t infect a scene like Finney. It was generous, thoughtful and fading.