The stage is life.

Posh and artifice are things inherently human. One might argue that we’ve mastered the art of covering up our true selves to such a degree that we have successfully eradicated any trace of ‘true identity’. However, that notion presupposes that we’d had some sort of a comprehensive sense of self to begin with. David Hume, Shakespeare and many others would beg to differ. The social mask thing is a misconception. We are our acts, and therefore, I hold, you could say that it is rather that we live through our acts than that acts or roles would live through us.

There is no distance between me and the role of an editor. If you take away/disable that role, the slot my personality is sees the clash between the acts of a latent junky, rigid academician, or a whore, to name a few. All these could be classified as masks or as social camouflage, yet there is not all that more to it: there is no inner core.

What you get is a spacious void, a quantum cluster of probable acts, a huge ball of dark chaos, a barrage of clashing me’s & I’s.

—Welcome to the void of the Word Addict—

A protean world containing multitudes of contradiction. This instalment reacts to the Primitive slime of the previous issue: here we crave the polish, the superstructure—everything refined, or everything refined attacked. The opening piece is an experimental political treatise by Jesse Chase, sounding a clarion call to all the revolutionaries across the globe; followed by a satirical dialogue by Vít Bohal, deeply steeped in slang. Next please accept Morgan Childs’ offering of an excerpt from her play Marginalia, a multi-dialogue text called “Lane.”  Subsequently sequenced, two poems appear, one by Alex Went, and the other by Willie Watson. Thor Garcia offers a contextual review of a play performed by the folk of D-Theatre, contemplating the topic of aristocracy and war. Cosily secluded at the back, Shaun Kennedy’s piece opens the window on Frank, a victim of the hikikomori phenomenon, which is a Japanese term designating people whose level of disconnectedness from society is a psychological condition.

This issue is heavily invested in its visual aspect, as it is topical to concern ourselves with surfaces. A photo shoot has been conducted especially for this issue, with Pavel Šťastný behind the lense, Vladimír Novák in front of it, and Kolca Lukovye prettifying Vláďa, reinforcing the mask and thus aiding him in facing the camera. The shoot took place in the gorgeous villa of the art gallery Arthouse Hejtmánek in Bubeneč. Also specially commissioned, drawings by the Slovenian artist Klara Debeljak contributed to the debate each issue of the Word Addict is.

To instill ancient class, Alina Sokolova drew the individual titles as brilliant illuminations referencing the craft of the scribe. Putting the whole magazine together, our very own typesetting and graphic department, Elina Osipova took great care to hand you something beautiful.