Soapbox 8.0: call for papers

Ways of Structuring

— peer reviewed; open to critical and artistic work; submission deadline: June 1; extended proposals —

‍

If structures are determinate and determining, as they have come to seem through the interventions of poststructuralist theory, then ‘ways of structuring’ names a contradiction.  The plurality of ‘ways’ sits in tension with the fixity of ‘structure,’ evoking the very qualities of contingency and flexibility that the concept seems to negate.  For this upcoming issue, we welcome academic and artistic contributions that explore this tension.

‍

For Louis Althusser, the figurehead of structuralist Marxism, ‘structure’ holds an exclusively economic valence: it is the mode of production. But the term also designates a multiplicity of social and cultural arrangements—from patriarchy and colonialism, to language and the University. In these usages, structure appears as a determinant or constraint, but it also names a condition of possibility—as in psychoanalytic theory, where the subject marks the site at which structures fail (see Alenka Zupančič’s What Is Sex? and Joan Copjec’s Read My Desire). To imagine ways of structuring is, then, to confront the subject’s constitution by, of, and beyond structure. Posing this condition differently, Raymond Williams’ “structure of feeling” reimagines the scale of the subjective by calling to attention our collective experience of the conjuncture and its mediations. For new formalists like Caroline Levine, it is indeed the material conditions of our current moment which occasion a return to structuralist methodology: we need “to recognise [structures’] necessity, to think with them as well as against them” (133, emphasis in original). Why? “Because,” as she points out, “they have been there all along. And because we cannot do without them” (133).

‍

But what are structures and how do we think with them? For Althusser, structure is famously an “absent cause,” meaning it is legible only in its effects. The invisibility of structure thus creates an imperative for cultural analysis, because, as Fredric Jameson points out, it is in  that we can best read its effects: “Cultural study allows us to isolate a certain number of specific instances and mechanisms which provide concrete mediations between the ‘superstructures’ of psychological or lived experience and the ‘infrastructures’ of juridical relations and production process” (140).

‍

The grammar of ‘structuring’ names both actions and their consequences, and it engages the subject, the social, and the aesthetic in their condition of erratic interrelatedness. How do contemporary aesthetic forms mediate these contradictions? The forms of text, sound, and visuality that constitute our contemporary cultural landscape all participate in regulating the subject’s relation to structure. Insofar as they are processual and formal phenomena, these mediums also represent ways of structuring in the material sense.

‍

Art’s autonomy from structure, and for structuring—using forms of repetition, completion, and interruption—negotiates relations between the subject and structure, or between the subjective and the objective. What can come of these relations? For Angela Davis, “the tension between the subjective and the objective will eventually provide the impetus towards total liberation” (9), where a way of structuring invites the struggle of contradiction in labour and mediation. In other words, structure demands our participation. How then might we position ourselves in relation to structure, and how is this relation mediated by aesthetic forms? 

‍

For its ninth issue, Soapbox: Journal for Cultural Analysis invites (young) researchers, (established) scholars, and creatives alike to submit works that consider practices, experiences, and methodologies that engage with the struggle, tension and hopeful inventiveness of structure. How does structure’s constitutive contradiction come to be figured? How are the general and the particular formalised? And how can the various hyphenations of structure (de-, re-, etc.) direct us in thinking of structure’s paradoxical faculty—between inescapability and perpetual transformation? 

‍

‍

other possible access points:

‍

anti-structuring

The hyphenation of anti- evokes a troubling, oppositional mode of relation. How do we take up this oppositional stance—and with whom do we stand? In other words, how do we structure our antagonism to structure?  If, as Stefano Harney and Fred Moten assert, “the only possible relationship to the university today is a criminal one” (26), could the anti- be an opposition from within? Juxtaposing structuring and resisting, could antagonism be organised through collective action in protest or other forms of struggle? The anti- as an oppositional praxis may also lead us to consider Sylvia Wynter’s ecumenical counter-humanism, which proposes humanness itself as (narrative) praxis, standing in solidarity with those who have been previously excluded from Western notions of “Man”. Finally, could it be, as Michel Foucault has warned us, that our attempts to resist structure are themselves already inscribed within structures, as effects of structure? Where is the anti- in structure?

‍

infra-structuring 

Roads, bridges, the electric grid, the body. For Lauren Berlant, infrastructure is the “lifeworld of structure”; how it patterns or organises society. Against a “notion of structure as calcified, as a thing” (Berlant 403), infrastructures—and particularly glitches in infrastructures, the moments when things break down—reveal that structure is not as sturdy as it might seem, but rather ‘only solid when seen from a distance’ (394). 

For Marina Vishmidt, infrastructural glitches mark “cuts” “through which history and power relations can be seen” (265). “Broken infrastructure is loquacious” (266), she writes; it allows us to glimpse for a moment the contingency of social arrangements, and the possibility for different ways of structuring. As a mediation of structure, the infra-structural invites critical reflections on scale and its ambivalent dynamics of rupture and correction. How might the in/stable circulation and organisation of access, labour, gestures and affects be understood?

‍

re-structuring 

Re-structuring names the labour of making possible alternatives to normative structures, and draws our attention to the labour of re-building, both concrete and abstract, material and imaginative. In this regard, we may think of the speculative impulse towards utopia, what counts as utopia, and for whom? 

Additionally, re-structuring envisions and materialises alternatives through particular relations to contradiction. Following Rosa Luxemburg’s suggestion on capitalism’s arrival to its own impossibility, what forms of organisation might the political take in what is to come after? And whose labour will this depend on? The question of re-structuring also operates spatially, as Henri Lefebvre argued that “capitalism is not just about the production of things in space but, perhaps even more importantly, capitalism is about the production of space” (Prey 1). 

‍

de-structuring 

Derridean deconstruction follows structures of meaning through their instabilities and incompletenesses, to the point where the structure seems to fall apart. This is not an erasure of structure, but rather an attention to the fact structure is not always organised. How is de-structuring itself a mode of structuring while also being its negation? We can also think of disidentification (Muñoz), queerness as refusal of identity (Edelman), and the acceptance of a spectral state of suspension (Foreman). Does neoliberalism’s erosion of social forms give the project of deconstruction a different political valence? And if structures are always already absent and disorganised, how can they be dismantled?

‍

self-(re)structuring

How does structure name the intersection between the objective and the subjective? While the subject, in the Althusserian view, is “an effect of structure” (Jameson 284), the care for the subjective also enables the (re)production of the structure. Here, we can think with the interventions of Marxist feminists like Silvia Federici and Leopoldina Fortunati, or Nancy Fraser’s intervention in Cannibal Capitalism to understand capitalism’s implications for acts of subjectivity.

‍

the details 

Essay Submissions 

  • We are inviting extended proposals in MLA formatting and referencing style to be submitted to submissions@soapboxjournal.net. 
  • Each proposal must include an abstract of 300-500 words and a writing sample developing the argument (500 words). The sample is meant to indicate the intended structuring and weighing of the various elements of your text; we understand and expect that this will change again during drafting and editing. 
  • The proposal should include a preliminary bibliography. 
  • Submissions should be sent as a file attachment (.docx) to the email, and the file's content should be anonymised.

Creative Submissions

  • Guidelines for creative submissions are more flexible. If text-based, we accept excerpts of finished works up to 1500 words. We also accept pitches/abstracts between 300 to 500 words in connection with a writing sample in the chosen creative form. Please keep in mind our spatial limitations: we publish and print in book format, and we have a limited number of pages to give to each submission. 
  • We are also open to visual submissions (excluding moving images), provided they are accompanied by an artistic statement and an explanation of how the work connects to the theme, up to 500 words. 
  • A sense of the formatting possibilities can be garnered from previous issues and our Instagram (open-access PDF versions are available on our website). There is no guarantee images will be printed in colour. 
  • Visual submissions need to be anonymised and not contain the author’s name. 

The deadline for submissions is June 1st. Conditional acceptances will be sent out before the end of the month of June. Upon acceptance, the authors of the academic essays will be asked to submit a 4000-6000 word full draft by the beginning of September (specific dates tbd). The editing and publishing process will span the next academic year (September 2026 - February 2027). 

‍

works cited

Althusser, Louis. On the Reproduction of Capitalism : Ideology and Ideological State Apparatuses. 1970, https://www.marxists.org/reference/archive/althusser/1970/ideology.htm

Berlant, Lauren. “The commons: Infrastructures for troubling times.” Environment and Planning. D, 

Society & Space, 34(3), 2016, pp. 393–419. 

Copjec, Joan. Read My Desire: Lacan against the Historicists. MIT Press, 1994. October Books.

Davis, Angela Y. Lectures on Liberation. Peace Press, 1969.

Edelman, Lee. No Future: Queer Theory and the Death Drive. Duke University Press, 2004, Durham.

Federici, Silvia. Caliban and the Witch : Women, the Body and Primitive Accumulation. London: Penguin Books, 2022. Print.

Foreman, Iain. “Spectral Soundscapes: Exploring Spaces of Remembrance through Sound.” Interferencejournal.org, 2009, www.interferencejournal.org/spectral-soundscapes-exploring-spaces-of-remembrance-through-sound/.  

Fortunati, Leopoldina. The Arcana of Reproduction. Verso Books, 2025.

Fraser, Nancy. Cannibal Capitalism: How Our System Is Devouring Democracy, Care, and the Planet and What We Can Do about It. Verso Books, 2023.

Harney, Stefano, and Fred Moten. The Undercommons: Fugitive Planning and Black Study. Minor
Compositions, 2013.

Jameson, Fredric. The Political Unconscious: Narrative as a Socially Symbolic Act. Routledge, 2007.

Lesjak, Carolyn. “Reading Dialectically.” Criticism, vol. 55, no. 2, 2013, pp. 233–77.

Levine, Caroline. “Structures All the Way Down: Literary Methods and the Detail.” Modern Language Quarterly 84(2). Cornell University, 2023.

Luxemburg, Rosa. Reform or Revolution. 1900. https://www.marxists.org/archive/luxemburg/1900/reform-revolution/

Muñoz, José E. Disidentifications : queers of color and the performance of politics. University of 

Minnesota Press, 1999.

Prey, Robert. “Henri Lefebvre and the Production of Music Streaming Spaces.” Sociologia, vol. 9, no. 3, University of Bologna, Jan. 2016, pp. 1–22, https://doi.org/10.2383/82481. Accessed 11 Oct. 2023.

Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. Translated by Gabriel Rockhill. Bloomsbury Academic, 2018.

Vishmidt, Marina. “Between Not Everything and Not Nothing: Cuts Towards Infrastructural Critique.” Former West: Art and the Contemporary After 1989. Maria Hlavajova and Simon Sheikh eds. The MIT Press, 2017, pp. 265-269.

Williams, Raymond L. Marxism and Literature. Oxford University Press, 2009. Marxist Introductions.

Wynter, Sylvia and Katherine McKittrick. 2015. “Yours in the Intellectual Struggle” and
“Unparalleled Catastrophe for our Species?” Sylvia Wynter: On Being Human as Praxis. Ed.
Katherine McKittrick, Duke University Press. pp. 1-89.

Zupančič, Alenka. What Is Sex? MIT press, 2017. Short Circuits.

‍

suggested bibliography

Berlant, Lauren. “Intimacy: A Special Issue.” Critical Inquiry, vol. 24, no. 2, Jan. 1998, pp. 281–88,

Fanon, Frantz. Black Skin, White Masks. Translated by Richard Philcox. Penguin Books, 2021.

Kornbluh, Anna. “Against Anti-Theory.” e-flux notes, 2024.

Kornbluh, Anna. The Order of Forms: Realism, Formalism, and Social Space. University of Chicago Press, 2019. 

Lefebvre, Henri. The Production of Space. Translated by Donald Nicholson-Smith, Blackwell, 1991.

Lonzi, Carla. “Let’s Spit on Hegel.” Feminist Interpretations of G.W.F. Hegel. Edited by Patricia
Jagentowicz Mills. University Park, PA: The Pennsylvania State University Press, 1996. Print.
pp. 275-299.

Matrix. Making Space: Women and the Man-Made Environment. Pluto Press, 1985.

Rancière, Jacques. Dissensus. Bloomsbury Publishing, 2010.

Schor, Naomi. Reading in Detail: Aesthetics and the Feminine. Methuen, 1987. 

‍

Call for Papers: 5.0: SWAMPED! Muddied Environments and the Ecology of Being Bogged Down

January 17, 2023

‍

Call for Papers: 5.0: SWAMPED! Muddied Environments and the Ecology of Being Bogged Down

‍

‍

For the upcoming issue of Soapbox, a graduate peer-reviewed journal for cultural analysis, we invite young researchers and established scholars alike to submit academic essays or creative works that critically engage with the theme of swamped. We are inviting extended proposals (500-1000 words) that follow consistent and complete formatting and referencing style to be submitted to submissions@soapboxjournal.net by February 21st, 2023.


While it may first be thought of as a space of stagnation, the swamp is also a transition zone. A space in which water and land merge, swamps have long represented an area in which the earth resists being controlled, and have functioned as areas of resistance in many Indigenous epistemes and folklores. Swamps, then, are areas that resist human control, and epitomise agency of the natural world, doing so too on a conceptual level (Wilson 1). At the same time, it has been co-opted semantically, as the term “swamped” has become associated with systems, both of society and signification, that are overwhelmed - whether in terms of a job market being swamped, or in the politically loaded draining of “the swamp” as a network of corruption. Where the former strand of signification uses the swamp to highlight agency, the latter points out a lack of it. As a result, swamps have become spaces of contestation and transition both as physical environments, and as linguistic ones. How do these strands of meaning diverge, and where do they come together?


Swamps as they exist in cultural imagination(s).

Swamps speak to the imagination. They feature prominently in folklore and provide fertile soil for myriad mythical creatures: from the nine-headed hydra in ancient Greek mythology, to the South-African grootslang, to the numerous global configurations of the will-o’-wisp. These narratives largely hinge on the swamp’s liminal positioning that makes it hard to traverse, inhabit, or otherwise tame. To this day, when swamps are featured in pop-culture, they are often mythologized to house the monstrous or, at the very least, the off-beat (e.g. Shrek, or the Man-Thing in Marvel comics, or the entire cast of characters in Karen Russell’s Swamplandia!). 

In addition to housing imagined creatures, the swamp is also a famously rich archeological site where we can find many well-preserved traces of past human life. Most notable are the so-called bog bodies, eerily intact corpses that date back as far as the holocene. These findings add to the swamp’s mythical appeal, but are also hypothesised to, in some cases, originate from it. A particularly large amount of bog bodies dating back to the iron age were found in Northern Europe, and the bulk of these corpses bear traces of ritualistic human sacrifice. This has led historians to believe that, at the time, the swamp was seen as a transition space, not just between land and water, but also as a gateway between different worlds (Randsborg). 

So, the swamp is charged with a rich cultural history and subject to wide-ranging meaning-making practices. We invite you to delve further into this and open it up. What stories do we tell about swamps? Which narratives are remembered? And, what does that ultimately say about us? 

The swamp as it appears in political rhetoric.

Since its first use in 1881 by Helen Hunt Jackson in her polemical text, A Century of Dishonor, the concept of the swamp as an area to be overcome has resurfaced repeatedly as a powerful metaphor in the arena of political discussion and rhetoric (most often in the context of US federal politics). Arguing against the so-called ‘Indian Appropriations Act’ of 1871, which rendered Indigenous peoples as wards of the state and, therefore, eligible for forcible relocation, Jackson argued that such panacean responses were immoral and did not address the needs and concerns, of Native peoples, nor did it strive towards the reparations that Indigenous nations deserved. Rather than debate the specifics of individual policy decisions, Jackson argued that ceasing to cheat, rob, break promises, and extending ‘the protection of the law to the Indian's rights of property’ (342) would be the most appropriate first course of action. To illustrate this, Jackson presented the following scenario:

When pioneers in a new country find a tract of poisonous and swampy wilderness to be reclaimed, they do not withhold their hands from fire and axe till they see clearly which way roads should run, where good water will spring, and what crops will best grow on the redeemed land. They first clear the swamp. So with this poisonous and baffling part of the domain of our national affairs — let us first "clear the swamp”. (341).

This metaphorical call to clear, or to drain, the swamp was then exercised by socialist and left-leaning politicians and political commentators such as Winfield R. Gaylord and Victor L. Berger who petitioned for draining the swamp of capitalism (Gaylord 8, Berger 107). In 1966, civil rights activists A. Philip Randolph and Bayard Rustin employed the phrase in A Freedom Budget for All Americans, a policy proposal that, among other things, sought to eradicate poverty (14-15). Ronald Reagan’s use of the phrase in 1982 when authorising the Grace Commision (which investigated inefficiency within the Federal Government), dragged the phrase across the political aisle. Where it had once illustrated a progressive politics, it henceforth became tethered to conceptions of government waste, cronyism and distrust in Capitol Hill, a claim bolstered by the fact of Washington, D.C.,’s construction on supposed marshlands between the Potomac and the Anacostia rivers. From Reagan’s usage  onwards, calls to drain the swamp were almost exclusively directed towards Washington, D.C., as a locus of political venality. The phrase’s most recent, and perhaps most memorable, usage was by former President Donald Trump, who repeatedly uttered the phrase at rallies, during interviews, and in countless tweets. 

The invocation and the power of this phrase can be seen across various areas of cultural and political discourse and analysis; its intent and meaning wavering from progressive to reactionary throughout its history. So begs the question, what does it mean to drain a swamp? Metaphorically speaking, what is the impact of identifying spaces as swamps to be drained? Who does the draining, or the promise of draining, serve? In reality, what are the implications of identifying and draining a swamp? Who does the draining itself? Think of the thousands of people displaced by Benito Mussolini’s draining of the Pontine Marshes, and the many more thousands of workers who were subject to backbreaking manual labour and exposure to malaria and disease (Snowden 155-6). What bubbles to the surface when we delve into the history, use, and the real-world implications of this charged phrase?


The affective experience of being swamped.

But to be swamped is also to feel swamped; to be overwhelmed with work, a sensory overload, stress and clutter. Infrastructures can be swamped; systems too; and spaces can swamp you with stimuli. How does one endure a state of swampedness, feel one’s way through it, resist it or find rest in it? Can objects or texts be swamped? To disconnect, go offline, turn to self-help books, and take time off work – all these are responses to feeling swamped. But then: who can afford to respond like this, and who is unable to withdraw? Or can information overload – to stay with the swamp – be creatively productive or critical? This is the muddy matrix that feeling swamped opens in theory; a space of excessive encounter between ecologies and affects, where swamps become metaphors, and metaphors swamp. 

Thought on the feeling of being swamped and its social-political relationalities are everywhere: from Jonathan Crary’s 24/7: Late Capitalism and the Ends of Sleep to Byung-Chul Han’s The Burnout Society to Lauren Berlant’s Cruel Optimism. So too the desire to escape overwhelm has recently been re-conceptualized in edited volumes like Politics of Withdrawal. But “swamp” as a metaphor has not yet passed the floodgates. We invite you to think with this swamp, feel through its conceptual implication. 


We encourage submissions relating to the themes above, as well as, but not limited to, the following: 

  • Critical engagements with/investigations into environments that could be described as marshlands, wetlands, fens, bogs, moors, etc. 
  • Practices of re-wilding and re-swamping.
  • Cultural ethnographies of muddied environments.
  • Environmental humanities and ecocritical approaches to swamps.
  • Investigations into swamps as liminal, transitional, or mutable sites.
  • Swamps as sites of decay (e.g. die-off and algal bloom) and repair (e.g. as fertile sites of regeneration).
  • Socio-cultural explorations of what it means to feel swamped, its implications, and who this affect can belong to.
  • Socio-economic approaches investigating issues such as: 
  • Who is relegated to the swamp?
  • Who has access to the swamp?
  • What are the social impacts of swamped environments on individuals and groups?
  • Investigations of the function of swamps in political rhetoric.
  • Pieces that investigate swamps as veiled, uncharted, or otherred locales or those that approach swamps as spaces to be traversed.


We invite extended proposals (500-1000 words) to be submitted to submissions@soapboxjournal.net by February 21st 2023. Following conditional acceptance, an initial draft version (3000 words) will be due two weeks after receiving the acceptance email. The editing process will take place throughout Spring/Summer 2023. If you have any questions regarding your submission, do not hesitate to contact us at info@soapboxjournal.net. Editing and peer review guidelines will be sent to authors individually upon acceptance of their submission. For full submission guidelines, see our website.


Guidelines for creative submissions are more flexible and can be finished works, but please keep in mind spatial limitations: there is usually room for one longer or two shorter pieces in the print version. A sense of the formatting possibilities can be garnered from previous issues (open-access pdf versions are available on our website).


We also accept submissions for our website all year round. We encourage a variety of styles and formats, including short-form essays (around 2000 words), reviews, experimental writing and multimedia. These can engage with the theme of the upcoming issue but are not limited to it. Please get in touch to pitch new ideas or existing projects that you would like to have published by reading our submission guidelines and filling in the form.



Works cited.

Berger, Victor L. Berger’s Broadsides, Social-Democratic Publishing Company, 1912.

Berlant, Lauren. Cruel Optimism. Duke University Press 2011.

Crary, Jonathan. 24/7: Late Capitalism and the Ends of Sleep. Verso, 2014. 

Gaylord, Winfield R. “Gaylord Makes a Statement.” Daily Northwestern [Oshkosh: WI], 10 Oct. 1903, p. 8.

Han, Byung-Chul. The Burnout Society. Stanford University Press, 2015.

Hesselberth, Pepita., and Joost de Bloois, editors. Politics of Withdrawal: Media, Arts, Theory. Rowman and Littlefield, 2020.

Jackson, Helen Hunt. A Century of Dishonor: A Sketch of the United State’s Government’s Dealings with Some of the Indian Tribes. New York, Harper & Brothers, 1881.

Randolph, A. Philip, and Bayard Rustin. A Freedom Budget for All Americans: A Summary. A Philip Randolph Institute, 1967.

Randsborg, Klavs. Roman Reflections: Iron Age to Viking Age in Northern Europe. Bloomsbury Publishing, 2015.

Snowden, Frank M. The Conquest of Malaria: Italy, 1900-1962. Yale University Press, 2006.

Wilson, Anthony. Swamp: Nature and Culture. Reaktion Books Ltd, 2018.




‍

Call for Creative Work - 5.0: SWAMPED!

October 2, 2023

For the upcoming issue of Soapbox, a graduate peer-reviewed journal for cultural analysis, we invite young artists to submit creative works that critically engage with the theme of swamped. We are inviting proposals or finished works to be submitted to submissions@soapboxjournal.net by October 10th, 2023.

‍

Swamps speak to the imagination. While it may first be thought of as a space of stagnation, the swamp is also a transition zone: an area in which water and land merge, a space where the earth resists being controlled. In addition to its geographical referent, the swamp also covers less tangible—though equally murky—semantic ground. It has become associated with systems, both of society and signification, that are overwhelmed—whether in terms of a job market being swamped, or in the politically loaded draining of “the swamp” as a network of corruption. Where the former strand of signification uses the swamp to highlight agency, the latter points out a lack of it. How do these strands of meaning diverge, and where do they come together?

Guidelines for creative submissions are flexible: poems, short-stories (up to 5000 words), visual art pieces, collages, drawings, comics, anything as long as it's printable! Feel free to take a look at our previous issues for inspiration.

‍

‍

Open Board Positions 2023

We are currently looking to expand our team. Soapbox is a student-run journal focused on promoting voices that creatively engage with concepts and cultural objects in the broadest sense, through publishing academic, artistic, and interdisciplinary works. Soapbox is a collaborative effort in gaining experience and experimenting with running a small publishing platform. All members take part in actively shaping what Soapbox is by weighing in on editorial decisions and take part in any aspects of publishing (both online and in print). 

In general, the time commitment expected is between four and six hrs/week, including a weekly two-hour meeting. The journal is run on a voluntary basis. For all roles, applicants should be based in the Amsterdam area and available for weekly meetings for at least the remaining academic year (until June 2024).

If you're interested, please email info@soapboxjournal.net with the particular role(s) you are interested in and a few words of motivation.

‍

Deadline: Sunday, October 15th


IT 

  • Keep track of website analytics.
  • Sorting out any website or email related issues (communicating with web designer, working through the website’s backend (Webflow), and sorting out Google domains and hosting).
  • Uploading content to the website.

‍

Podcast

  • Assisting the podcast team with scripting, recording and sound editing. 
  • Coordinating episode production and releases in tandem with the journal calendar. 
  • Acting as a point of contact with funding and communication departments
  • Experience with editing program (Audition, Ableton) or willingness to learn! 

‍

Finance and Distribution

  • Keeping track of ingoing/outgoing expenses via bank account and spreadsheet, approving transactions.
  • Paying invoices.
  • Keeping track of journal sales and posting orders, sending out free copies to contributors, responding to email orders.
  • Managing the journal’s Big Cartel account and associated payment systems (Stripe, PayPal, iDEAL).
  • Keeping an inventory of stock.
  • Reaching out to bookshops who might be interested in stocking the journal, taking copies to them and checking-in with sales.

‍

Contribute

Soapbox encourages the exploration of how to practice cultural analysis across a wide variety of media and offers two means for publishing: a print journal and the online platform.

Find our submission guidelines below.

Support usPrintOnline