The release of Sara Ahmed’s twelfth book, No Is Not a Lonely Utterance: The Art and Activism of Complaining (2025), underscores her profound influence on contemporary intellectual history – across feminist philosophy, queer studies, cultural studies, affect theory, and neighboring fields. For Ahmed, theory is not mere postmodern abstraction but a way of living close to the world. She understands feminism as an affective, ground-level practice that attends carefully to scenes of violence. Drawing on her own terms, her work equips readers with analytical tools to dissect power structures, revisit difficult histories, and hammer away at the past. Articulating diffuse gut-feelings into words can be an empowering act. Ahmed reconceptualizes structural power from the standpoint of those directly affected by it. In Complaint! (2021), which gathers testimonies from academic staff and students who confront abuses of power in universities, she writes: “The complainers are my guides; they are my feminist philosophers, my critical theorists, and also my collective.” A recurring motif across her books is the link between everyday experience and larger institutional structures or discursive formations. Feelings are social; domination gets under the skin and leaves marks on bodies. She refuses to write these scratches away as they testify to political atmospheres of sexism, racism, neoliberalism, and other unjust systems. Her writing offers a phenomenology of power. It illuminates how institutional mechanisms work. Complaint can be a queer phenomenology: disorienting, nonconforming and misaligned  with “straight” social expectations. In Living a Feminist Life (2017), she defines queer as “the moment you realize what you did not have to be” (265). Queerness, for Ahmed, refuses a hegemony of happiness that disciplines subjects into conformity. Not fitting into this happy world can be a possibility. Misfitting opens other ways of being in the face of “[d]ominant systems [that] make so much and so many impossible”, as she phrases it in The Feminist Killjoy Handbook (2023). Her work has generated a distinctive lexicon – willfulness, happiness, killjoy, affective aliens, feminist ears, complaint, queer use, queer vandalism, door stories, and more. Happiness, in her view, is not a viable political option. Remaining with unhappiness, as one of her “killjoy maxims,” is not pessimism but a starting point for social change. Despite the broad reception of Ahmed’s concepts across the humanities, few attempts have been made to systematize her contributions and engage them collectively. We invite proposals from scholars at all career stages that explore the possibilities of working with her theories in literary studies, film and media, cultural studies, political theory, and related fields. We welcome both theory-driven papers and case studies. Participants must have a genuine interest in engaging deeply with Ahmed’s philosophy.