Neko Case

I’m no good without a dog or a cat. Why would I want to have relationships with just humans when so many other species are possible? If someone I meet is uninterested in creatures, it’s a red flag to me. I immediately think of those people who aren’t interested in other humans who say things like “speak ENGLISH!” so they don’t have to put forth any effort while feeling superior. I know that is not the same thing, but people who are “human-centric” freak me the fuck out. I could go on, but I’ll spare you.

--In her substack newsletter, "Entering the Lung." September 25, 2026. 

Glynnis MacNicol

Speaking of the young, I spent the last two weeks with teenagers. So many teenagers. It felt like some sort of extraordinary bootcamp. Even when you understand they are using you to slam themselves against to find their own form, it can be a lot. And also so wonderful. My general feeling, is the kids are incredible, especially in the face of an unrelenting terrible news and promises of a bleak future upended by AI. They are clear-eyed about the world and determined about their place in it.

--Glynnis MacNicol's Good Decisions, a substack newsletter (9/13/2026) 

Ginny Sims

Jon Spayde (for ACC): Speaking of England, a main strand in your work is a very idiosyncratic take on Staffordshire pottery. What does that tradition mean to you?

Ginny Sims: It all started from seeing reproductions of the 18th- and 19th-century sketchbooks of the workers from the Leeds pottery factory. I went to the Victoria and Albert Museum in London to see the originals. You could see the dirt and grease on the pages where they had turned the pages, and they were so worn. The handwriting was exquisite, and the drawings were fabulous. 

Seeing those books made me cry. And it got me interested in factory ware, not mainly the pottery itself, but the whole history of its making. Then I went to the Staffordshire pottery locations—the six towns that make up Stoke-on-Trent, and these other sad northern industrial towns in England, where I was looking around thinking, This is like Detroit. This country has failed these people. 

And so when people associate my work with Staffordshire and English history, I hope they know that I’m really trying to critique this capitalist, colonialist past and using that aesthetic to show how capitalism fails society.

--In an interview/profile for the American Craft Council: https://craftcouncil.org/articles/the-queue-ginny-sims/