This edited volume combines cutting-edge research on feminist and intersectional writing methodologies with explorations of links between academic and creative writing practices. Contributors discuss what it means for academic writing processes to explore intersectional in-between spaces between monolithic identity markers and power differentials such as gender, race, ethnicity, class, sexuality and nationality. How does such a frame change academic writing? How does it make it pertinent to explore new synergies between academic and creative writing? In answer to these questions, the book offers theories, methodologies, political and ethical considerations, as well as reflections on writing strategies. Suggestions for writing exercises, developed against the background of the contributors' individual and joint teaching practices, will inspire readers to engage in alternative writing practices themselves.

This edited volume combines cutting-edge research on feminist and intersectional writing methodologies with explorations of links between academic and creative writing practices. Contributors discuss what it means for academic writing processes to explore intersectional in-between spaces between monolithic identity markers and power differentials such as gender, race, ethnicity, class, sexuality and nationality. How does such a frame change academic writing? How does it make it pertinent to explore new synergies between academic and creative writing? In answer to these questions, the book offers theories, methodologies, political and ethical considerations, as well as reflections on writing strategies. Suggestions for writing exercises, developed against the background of the contributors' individual and joint teaching practices, will inspire readers to engage in alternative writing practices themselves.

The article explores the location of Central and Eastern Europe in transnational feminist studies. Despite the acknowledgement of the situatedness of knowledge, feminist theorising nevertheless seems to continue to be organised around a limited number of central axes and internalised progress narratives. The authors argue that there is a pressing need for theories which can approach the near absence of Central and Eastern European perspectives from transnational feminist theorising, and challenge the limited number of discursive tropes associated with post-socialist Central and Eastern Europe – especially that of a ‘lag’, where difference is translated into a temporal distance. Instead, the authors suggest that a more inclusive vision of transnational feminist studies can be achieved by applying the decolonial framework to the post-socialist context, as explicated in the work of Madina Tlostanova.

In this paper, I explore the question of geopolitics of knowledge in feminist studies together with the notion that the visual arts are an important starting point for the decolonization of knowledge and imagination. In particular, I discuss a series of self-portrait photographs by AnnaStina Treumund, a feminist and lesbian identified artist from postsocialist Estonia, and see if and how her work helps to reconfigure the lag discourse often associated with the former Eastern Europe within feminist theorizing. I zoom in on the artwork entitled Woman in the Corner of Mutsu’s Drawings (2010), an homage to Estonian graphic artist Marju Mutsu’s three ink drawings from 1972, and its connections with the recent turn towards history and reconceptualizing normative models of time in queer theory. Through Elizabeth Freeman’s concept of “erotohistoriography”, I will argue that Treumund’s impulse to start “making connections across time” [5] reveals a resistance to “chrononormative” models of history [9; 10] and to a tendency to view the present of feminist thought and queer art in Eastern Europe as always already one step behind the West.