Since its inception in 2018, the aim of the "Creative Encounters" section of Migration and Society has been to off er alternative ways of engaging with "voice" or, more pertinently, as I have argued elsewhere, "to embroider the voice with its own needle" (Qasmiyeh 2019). This dialectic is proposed to problematize the notion of the voice as it is often perceived and mobilized: a medium offered to those in need of (their) voices rather than as a prior state of being that is initiated by and

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... ore intrinsically belongs to the individual herself. In this vein, "to embroider the voice with its own needle" is to see the voice within its owner, as a given and not to be given, through tracing the thread as it touches the needle eye to go through it and in so doing ushering in the embroidering that will come. Indeed, embroidering the voice is writing the intimate, the lived, and the leftovers in life into newer times as imagined by the writer herself; it is writing without a helping hand from anyone but rather through continuously returning to the embroidered (and what is being embroidered) and its tools, notwithstanding how incomplete and fragmentary they are.