It has been a joy to publish the first, and now the second, instalment of MOOP, as well as finally premiering our long-awaited film Brink by Brink. If you were not able to attend the online screening in August, the film (at the time of writing) remains on our YouTube channel for viewing. If this is the second issue of MOOP that the reader has encountered, welcome back, and if it is the first, thank you for joining us. To both I extend my sincere wish that you find something herein that makes you think.

For this issue, we have a continuation of the work of the contributors to MOOP #1, as well as what will hopefully be the first of many pieces by two long-time friends of Chasing Cow. We have two paintings from artist Ella Squirrell, whose subtle, evocative work invites one to consider how memory and identities are performed, by demonstrating the intersection of the real and the imaginary. Also contributing is Frankie Brown, whose essay 'Creativity in Education' navigates the ongoing synthesis of her performance art background with her new career as a teacher, making a strong case for a more imaginative approach to education. 

Those that are interested in the natural sciences and/or ecology will enjoy Fred’s article on the phenomena of invasive species, which raises questions concerning the looming problem of climate catastrophe and how species management functions. For the literary minded, skip straight past this introduction to Grace’s exciting, thoughtful review of the newly released collection of essays by Brian Dillon, Suppose a Sentence, a text that invites the reader on a unique exploratory endeavour. We also have not so much a film review from Jack as an investigation into the Coen brothers’ oeuvre, presenting an interesting account of the complexity and evolving style of the filmmakers. In the fictional wing, we have the second and final instalment of Stefan’s Autonomy, a tale that has been a delight to both read and feature in these pages. Resident poet Bryony returns with ‘Peach’, a provoking piece that draws the reader into the shifting affects, intensities and messiness of a sexual encounter. For my part, I have written another essay centered around the political response to Covid-19, something that I would like to see end for all the obvious reasons, but also so I can write about something different. 

I joke of course, but to both end and begin on a serious note – I’d like to thank everyone who has supported and continues to support us through these times. We will see in the coming months if non-profit creative collectives are, as I hope, recession-proof. 

Tom Beed is a writer, actor and founding member of Chasing Cow Productions. He has a degree in International Relations and Politics from Oxford Brookes University.