United Kingdom
A reader and writer of eco-fiction, particularly eco-collapse fiction and eco-horror. I write narratives which are set in and which criticise eco-capitalist futures, where biophobia, ecophobia, and similar fears are confronted, and where posthumanism is explored and appreciated.
Since graduating from the University of East Anglia (UEA) with a degree in BA English Literature with Creative Writing, I have been taking time to become more knowledgeable of and respectful towards the themes I write about, developing as an individual, as a writer, and as an advocate for social and environmental justice, intersectionality awareness, and the protection of our natural environment.
I live in Norwich, Norfolk, and for employment I have specialised in supporting local organisations focused on community development and social impact. At present, I work as a Business Support Officer at Equal Lives, a local disability rights organisation. Up until recently, I also volunteered as the Volunteer Coordinator of OUTPOST, a volunteer-run art gallery and studios. I am proficient in performing core administrative responsibilities, including office management, health and safety management, and charity governance.
I am part of the Disabled and LGBTQ+ communities, and from a lower socioeconomic background. I have always been drawn to the dark and mysterious, particularly in art, literature, and nature. My work is as much a celebration of the weird as it is activism.
Jordan Hunnisett, writer and YNAC Member, reviews the Beasts of the Future Wild creative writing workshop at Norwich Science Festival 2022 as part of Bugs and Beasts at Waterloo Park - an event exploring plausible future animals and how to approach writing them.
What's more scary than killer animals? How about anti-nature ideologies represented in mainstream film and literature? Learn about the popular ecohorror genre and why the style is coming under increasing criticism for is deadly depiction of nature.
After Take-2’s terrible reception at E3, the future is uncertain for presentations about diversity, equity, and inclusion.
The cultural and natural landscape of Norfolk has inspired local artists from as early as the 19th century, making Common Ground's upcoming event, Living Landscapes, a fresh take on old traditions.
We talk to Kelly Marine, Geoffrey Bunting, and our readers about their experience of gaming as a disabled person in 2020.
As the trees on the sides of the road start to thin, the world falls open ahead of us. The cab passes a few farmhouses, a corner store, a kebab place, smudging as we rush by, but otherwise it’s so late at night there’s just a big stretch of darkness reaching up to the streetlamps.
The term 'spooning' has increasingly become part of our language over the last decade, bringing with it titles for partners in this now-celebrated cuddling act: the 'big spoon' and 'little spoon'.
Ubisoft seemed to have approached their award-winning Assassin's Creed series with the perspective that 'bigger is better' in recent years, and although it's run them into trouble before, this mindset might have been just what was needed for Assassin's Creed Odyssey. (Image: PlayStation.Blog on Flickr)
It was a soundless morning until an alarm went off and woke the jackdaws. Rising, laughing, they shuffled from their nests in the cavities of the beech trees, and shook out their wings in the dim yellow sunlight.