The UK’s decision to leave the EU illustrates some of the tensions embedded in European integration, enabling us to examine how nationalism and cosmopolitanism operate simultaneously, thus reinforcing each other. Furthermore, the prolonged Brexit negotiations have created a climate of protracted insecurity where the only certainty is uncertainty. This is particularly reflected in the migratory experiences of European citizens currently residing in the UK. Academic research has begun exploring the affective impact of Brexit; however, little is known about how processes of connection and disconnection operate simultaneously, nor which coping strategies European migrants have employed to navigate this state of in-betweenness. Using the anthropological notion of liminality as a lens, we draw on participant observation and semi-structured interviews to explore the experiences of Brexit and the coping practices of a range of (new) Bulgarian and (old) Italian European migrants. We argue that Brexit results in a loss of frames of reference for European migrants in the UK – which can be both liberating and unsettling, depending on migrants’ positioning as unequal EU subjects as well as their views on the nature of their future re-incorporation in post-Brexit Britain.

This article takes up Adam Dziadek’s somatic approach to literature to explore the theme of erotic experience in two poems by Jarosław Iwaszkiewicz, ‘L’amour Cosaque’ and ‘Amore profane’. With the help of inputs from gender studies and the contemporary theories of the subject it has been possible to profi le the ‘I’ of the poems as a deeply fragmented and sexually ambiguous subject, and, upon the evidence of the elusive autobiographical details woven into the text, as a subject suspended in a liminal space, between the real and the fi ctive world. After analyzing the body represented in the text, both perfect and decrepit, as well as traces of the poet’s carnality that interfere with the text and the reader’s sense of his own soma the article arrives at the following conclusion: in Jarosław Iwaszkiewicz’s lyrics the body seems to project its impressions and experiences onto reality, thus blurring the border between the inside and the outside.