When I was a teenager living in Tokyo, I was told to imagine a dystopia for homework. I wrote a Japanified Handmaid’s Tale, where women were mandated to fully concen-trate on their biological functions. I included a scene in which teenage girls in class-rooms fed robot babies, while a metallic voice on an intercom told them that they were “baby-making machines.” This was an actual quote by Japan’s health minister in 2007, I commented, in a heavy-handed footnote. I handed This story is from Kinfolk Issue Thirty-Two Buy Now Related Stories Arts & Culture Issue 43 Space Invaders Room dividers from a Roman studio. Arts & Culture Issue 43 Peer Review: Edward Krasinski Curator Kasia Redzisz on the surreal wit of the avant-garde artist. Arts & Culture Films Music Issue 42 Peer Review Iranian artist and filmmaker Shirin Neshat pays homage to the iconic Egyptian singer Oum Kulthum. Arts & Culture Issue 41 An Artist in Tunis Dora Dalila Cheffi is building her reputation, and her home, in the Tunisian capital. Arts & Culture Issue 41 Peer Review Curator Alya Al-Mulla shares the legacy of Algerian artist Baya Mahieddine. Arts & Culture Issue 41 CULT ROOMS Inside Alexander Calder’s studio, where chaos and kinetic art found a harmonious balance.
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Arts & Culture Films Music Issue 42 Peer Review Iranian artist and filmmaker Shirin Neshat pays homage to the iconic Egyptian singer Oum Kulthum.
Arts & Culture Issue 41 An Artist in Tunis Dora Dalila Cheffi is building her reputation, and her home, in the Tunisian capital.
Arts & Culture Issue 41 Peer Review Curator Alya Al-Mulla shares the legacy of Algerian artist Baya Mahieddine.
Arts & Culture Issue 41 CULT ROOMS Inside Alexander Calder’s studio, where chaos and kinetic art found a harmonious balance.
