The White Review No. 11 features interviews with artist Philippe Parreno, novelist Pierre Guyotat and poet Alice Oswald alongside new fiction by Pola Oloixarac, Evan Lavender-Smith, and Ruby Cowling, winner of the The White Review Short Story Prize 2014. Essays are provided by McKenzie Wark, on the science of climate change, Alexander Christie-Miller on falconers of the Black Sea and Basia Lewandowska Cummings on a new style of cinema. The featured poets are Sophie Collins, Rob Halpern and Gëzim Hajdari (translated from Italian). Artwork is provided by photographers Sarah Jones and Victoria Jenkins, with a cover by Natasha Cox.
The White Review No. 10 features interviews with French philosopher Jacques Ranciere, the short story writer and translator Lydia Davis, and Camille Henrot, winner of the Silver Lion for most promising young artist at the 2013 Venice Biennale. It includes new fiction by the playwright Benedict Andrews, art critic and novelist Chris Kraus (interviewed in The White Review No. 8), novelist Nicola Barker and Greg Baxter. The issue features essays by Belgian novelist Jean-Philippe Toussaint on the qualities – urgency and patience – necessary in the act of writing, the artist William E. Jones on the mystery of the Pop painter Vern Blosum, Orit Gat on what art magazines can be, and new poems by Wesley Rothman, Vidyan Rathinviran, Mark Prince, Laura Elliott and Najwan Darwish (translated from Arabic). Art comes from Joshua Abelow, an artist who makes paintings and drawings that, in his own words, ‘mock the idea of artistic genius’, plus a series by German photographer Isabelle Wenzel and a cover by Christian Newby.
The White Review No. 9 features interviews with veteran artist and political activist Gustav Metzger, writer and cultural historian Rebecca Solnit and the brilliant, avant-garde Russian novelist Vladimir Sorokin. We also have fiction by the British artist Ed Atkins, the Italian writer Francesco Pacifico and emerging talent Zoe Pilger, plus an essay by one of the most brilliant writers in Spanish, Enrique Vila-Matas, on the anachronism or otherwise of literary theories. Also in this issue: Patrick Langley’s essay in fragments on the edge land of Silvertown, Hunter Braithwaite on swimming pools, Miami and Ballard, and new poetry by Adam Fitzgerald, Matthew Gregory, George Szirtes and Gerdur Kristny. Art is provided by one of our favourite contemporary artists, Marcel Dzama (also the only of our contributors to have ever, to our knowledge, designed the costumes for a Bob Dylan music video), the legendary British filmmaker, painter and poet Jeff Keen, Mark Mulroney and Raphael Garnier, who supplies our limited-edition, fold out cover.
The White Review No. 8 features, among other things, interviews with artist Sophie Calle, novelist Deborah Levy and the author and filmmaker Chris Kraus, fiction by China Mieville and inaugural White Review Short Story Prize winner Claire Louise-Bennett, essays on écriture féminine by Lauren Elkin and American art collaborative Bruce High Quality Foundation by Legacy Russell, poetry by John Ashbery, Jack Underwood and Eugene Ostashevsky, and artwork by Claudia Weiser, Ben Berlow and Guy Gormley.
The White Review No. 7 features interviews with artists Luc Tuymans and John Stezaker, and poet Keston Sutherland; essays on the state of British fiction by Jennifer Hodgson and on London’s twenty-first century architecture by Lawrence Lek; alongside fiction by Peter Stamm and Jesse Loncraine; and cover art by Mai-Thu Perret.
The White Review No. 6 features, among other things, interviews with China Mieville, Julia Kristeva and Edmund de Waal, new fiction by Helen DeWitt, Jack Cox and Cesar Aira, essays on Béla Tarr and J. H. Prynne, poetry by Emily Berry and Sarah Hesketh, and art by Matt Connors, Garth Weiser and Erik van der Weijde.
The White Review No.5 features interviews with novelist Ben Marcus and curator Hans Ulrich Obrist, a novella by Joshua Cohen, a feature on the late German artist and filmmaker Christoph Schlingensief and poetry by ex-Sandinista Gioconda Belli and Nobel Prize for Literature Laureate Herta Muller. Artist Camille Henrot contributes a series of Ikebana images. Cover art is by German artist Franziska Holstein.The issue also features essays, fiction, poetry and artwork by Ivan Vladislavic, David Auerbach, Max McGuinness, Michael Amherst, Emily Critchley and Niall McLelland.
This issue features interviews with art and fashion photographer Juergen Teller and writers Ahdaf Soueif and Brian Dillon; fiction by Jesse Ball and Deborah Levy (plus some hidden Vladimir Nabokov prose); poetry by Michael Horovitz and Sarah Howe; essays on political poetry, imagining radical futures and Tibetan kitsch; artwork by Nick Van Woert, Julie Brook and Gabriele Beveridge.
The White Review No. 3 features interviews with writers Will Self and Marina Warner, and conceptual art duo Elmgreen & Dragset. It also includes fiction by Federico Falco, Jeremy M. Davies and K. J. Orr, reportage by Melanie Challenger on whale fishing in the southern Atlantic, essays on boredom, the graphic novel and Georges Perec, alongside photography by Stephen Gill and Oliver Griffin and artwork by Alison Rossiter and Matthew Allen.
In our second issue: Michael Hardt tells us that we live in ‘exciting’ times, William Boyd on fiction, art and the combination of the two and Richard Wentworth on his own ‘criminal intelligence’. Features short stories by Joshua Cohen and Diego Trelles Paz, a limited edition print by artist Sophie von Cundale, photography by JH Engstrom, essays on Naples and Sri Lanka and cover art by Lewis Irvine that unfolds into a typographical narrative.
Our inaugural issue features Paula Rego on art and storytelling, Tom McCarthy on writing, art and cricket (‘How can cricket not be German?’) and Andre Schiffrin on the prospects for print publishing. Our sold out debut also features fiction by Patrick Langley and Desmond Hogan, poetry by Alexander Nemser and photography by Marcus Leatherdale. Removable dust jacket with a limited edition print by artist Viktor Timofeev.
The July 2014 online issue leads with an interview with the acclaimed novelist and critic Geoff Dyer. Conducted next to the John Berger and D. H. Lawrence archives at the British Library, the interview traces the impact of Berger and Lawrence on writers in their wake, the weariness of Bloom’s notion of ‘influence’, and the irony of those ‘scourges of the establishment being canonised’.
The issue also features an essay by Alice Hattrick on the work of dOCUMENTA alumnus Kristina Buch; a selection of panels from Patrick Goddard’s graphic bildungsroman Operation Paperclip, following the reluctant clone of Adolf Hitler (also the subject of a text by Naomi Pearce); a new poet’s play from Fence Modern Poetry Prize winner Joyelle McSweeney; an essay by Orlando Whitfield locating the political nuance of the Fast & Furious film franchise; and journalist Paul Cochrane’s account of a turbulent decade in Beirut.
In a notably international issue, highlights include Youssef Rakha on the intersection of shaabi (urban folk) music and revolution in Cairo, and Brazilian novelist Daniel Galera’s essay on Prince of Persia and ‘the great sensory and aesthetic pleasure that video games are able to provide’ (originally published in Brazil’s preeminent literary magazine Serrote, and translated for The White Review by Rahul Bery).
Originally published in 2002, Édouard Levé’s Oeuvres proposed something uniquely ‘misleading without being false’: a photo series of American towns bearing names homonymous to those in other countries. In 2006 Levé realised this project as Amérique, and for our July online issue we’re featuring a selection from the series alongside an excerpt from the forthcoming translation, originally published in The White Review No. 7, out this month from Dalkey Archive Press.
Also this month: an extract from Mexican poet Tedi López Mills’ English-language debut, Death on Rua Augusta; Chilean writer Juan Pablo Meneses’ chronicle of hooliganism, football and a derelict grenade (taken from The Football Crónicas, a collection of South American writings on football, published this month by Ragpicker Press); Charmian Griffin and artist Amanda Loomes construct a narrative of concrete; new fiction and an interview from American short story writer Diane Williams; and Simon Hammond maps contemporary anti-fiction, taking BS Johnson as his point of departure.
This month we’re featuring interviews with Eimear McBride, whose novel A Girl is a Half-Formed Thing won last year’s inaugural Goldsmiths Prize and has been the subject of much critical excitement, and artist Conrad Shawcross, whose sculptures combine mechanical innovation and philosophical experiment. We’re also publishing fictional field-writings from art writer and Happy Hypocrite editor Maria Fusco’s residency at the Lisbon Architecture Triennale; David Auerbach on the narrative modalities of gaming and ‘the Quick Time Event’; and Rose McLaren who, astonishingly, manages to say something original about Karl Ove Knausgaard’s My Struggle cycle, arguing that his ‘closest artistic relatives are the Northern Renaissance painters’. Finally, we have a suite of paintings by the Turner Prize-nominated artist and one-time punk Dexter Dalwood, fiction from Guernsey-born, California-based Ben Hinshaw, and poetry by England’s New York School heir, David Andrew.
This month’s features an interview with Antón Arrufat, the novelist and playwright who was among the country’s post-revolutionary vanguard, invited Ginsberg to Cuba, and was barred in 1968 from publishing for offending the Castro regime only to be awarded, decades later, the nation’s highest honour for writers. He talks to The White Review about revolution, censorship, and what it means to write.
Paige K. Bradley discusses the work of the great contemporary American painter Amy Sillman with reference to the problems with abstraction, the treatment of art made by women and the existential crises of Daffy Duck. Having last month published two poems by Derek Jarman, we’re pleased this month to carry an interview with the structuralist film-maker John Smith, recent winner of the prestigious Film London Jarman Award. Elsewhere, the radical poet and playwright Heathcote Williams recalls the time he spent with William Burroughs in London.
We’re delighted to bring you a novel extract by the brilliant American writer Micheline Aharonian Marcom, whose novels have been acclaimed by Scott Esposito and Chris Kraus. Martin Monahan contributes a surreal tale of occupation and utopia, while the Welsh writer Joe Dunthorne – author of Submarine and Wild Abandon – contributes two poems.
This month we honour the literary output of two of Britain’s cinematic avant-gardes: two poems from the forthcoming reproduction of Derek Jarman’s ultra-recherché A Finger in the Fishes Mouth, published by Test Centre as part of the year-long series of events, ‘Jarman 2014′; along with an interview with Patrick Keiller (London, Robinson in Space), whose essay collection The View from the Train: Cities and Other Landscapes was released by Verso Books last year. Keiller featured in the second instalment of The White Review‘s Video Arcades radio series, ‘Landscaping’. The issue also includes an essay by Daniel F. Hermann, curator of the acclaimed Hannah Höch exhibition currently showing at The Whitechapel Gallery, locating her at the centre of the Dada movement; a conversation with Beckettian actress Lisa Dwan; Chen Wei’s account of censorship, innovation and experimentation in the Chinese literary sphere; a short story by R.B. Pillay (last year’s Daniel T.K. Wong Fellow at UEA); and an essay on presence and writing by Scott Esposito.
This is our biggest online issue yet, a translation-only number curated by contributing editor to The White Review Daniel Medin. Paul Griffiths’ ‘Hagoromo’, taken from The Tilted Cup: Noh Stories, No. 22 in Sylph Editions’ Cahiers Series opens the issue, which also features extracts from: the late, brilliant Brazilian Hilda Hilst’s Letters from a Seducer, from her ‘pornographic tetralogy’; Humphrey Davies’ translation of Ahmad Fāris al-Shidyāq’s ‘unique and unclassifiable’ Leg over Leg, first published in 1855, in which the Fāriyāqiyyah and his wife discuss the physical and moral significance of the buttocks, among other things; Israeli writer Orly Castel-Bloom’s latest novel Textile, on Dael Gruber, ‘a sensitive sniper with a delicate soul’; Portobello Books’ edition of Dutch author Hella S. Haasse’s classic The Black Lake, set in Dutch Indonesia; Korean novelist Yi-mun Yol’s noir novel Son of Man, translated by Brother Anthony of Taizé; and acclaimed Hungarian poet Szilárd Borbély’s first novel, The Dispossessed, a portrayal of growing up in the country’s rural northeast during the beginning of the Kádár era (1956-1988).
We also have new short stories by Granta ‘Best of Young Spanish-Language’ novelist Samanta Schweblin, ‘To Kill a Dog’, and Chinese author Can Xue, ‘Vertical Motion’, three new poems by Antjie Krog (translated by the poet herself from the Afrikaans) and a selection from Czech novelist Jáchym Topol’s early poetry, inspired by Native Americans, World War II atrocities, and the spy and adventure stories he devoured as a boy. Finally, the poet and translator George Szirtes proclaims ‘The Death of the Translator’ in an afterword. ‘They lined up the translators and shot them. Which one was the poet? asked the soldier. Fourth one along. Maybe fifth. Not that it matters,’ writes Szirtes.
Our mid-December online issue includes an interview with artist Tess Jaray on ‘the essence of painting’, new fiction by Katie Kitamura, a response to Michael Sayeau’s critique of Slavoj Žižek by Houman Harouni, and a new essay by Masha Tupitsyn on the cinematic culture of the 1990s.
Our November 2013 online issue features an interview with Spanish novelist (and King of Redonda) Javier Marías. Described by the New York Times Book Review as ‘one of the most original writers today’ Marias’ Your Face Tomorrow trilogy was declared by the Guardian to be ‘the first authentic literary masterpiece of the twenty-first century’. This interview, conducted by the British poet Oli Hazzard, touches on his writing practice, the influence of his work as a translator on his own writing, and why Spanish football referees all have two surnames.
Elsewhere, we’re thrilled to be publishing Marina Warner and Clare Finburgh’s new translations of the Moroccan poet Abdelfattah Kilito’s ‘miniatures’; an essay by David Shields on the history of plagiarism across art forms; short stories by Guatemalan novelist Eduardo Halfon (identified as being among the best young Latin American writers by the Hay Festival of Bogotá) and Iphgenia Baal; and an essay on the art of re-enactment by Natasha Hoare.
This online issue features an interview with writer and filmmaker Chris Petit on driving, drifting and his new project The Museum of Loneliness. ‘It’s hard to imagine now but there was a time when getting one’s driving licence was the start of a certain kind of irresponsibility,’ says the artist. ‘I remember thinking when I got mine, “This is the last time I’m going to let anyone test me.”‘
Also online this month, Michael Sayeau argues that analysing ‘why Žižek has become the world’s favourite radical thinker can help us to understand both what is wrong with our intellectual situation and some of the impediments limiting the progress of this disunited worldwide movement for change.’ The White Review‘s editors welcome responses to this piece, the first in an ongoing series of essays on the state of the Left today.
This issue also features a review of the Tate Britain’s ‘Art Under Attack: Histories of British Iconoclasm’ show by Joe Moshenska; Jess Cotton on dissent within the military as seen through the work of Jo Metson Scott and Akram Zaatari (whose work featured at Venice this year); and an interview with Nick Goss, one Britain’s most feted young painters, whose painting ‘Dancing Under the Lindens’ is above.
We are also thrilled to be publishing a short story, ‘Last Supper in Seduction City’, by Mexican author Alvaro Enrigue, in which a successful chef recounts a trip home to Mexico City; André Naffis-Sahely on his participation in Breyten Breytenbach’s literary festival in Stellenbosch, a reflection on both contemporary poetry and South Africa; and two poems, ‘Steam’ and ‘Transylvania’, by Jon Stone.
This issue features an exclusive interview with one of our favourite contemporary European novelists, the great László Krasznahorkai, conducted by poet and translator George Szirtes. The interview is accompanied by an excerpt from Krasznahorkai’s forthcoming novel, Seiobo There Below.
Continuing our remit to juxtapose writing by new and established names, this online edition includes a memoir on his deployment as a British soldier in the Iraq War by the previously unpublished Adnan Sarwar. As the West considers a new intervention in the Middle East, Adnan reflects upon his own experience as a British Muslim in combat. This piece is published alongside the American novelist Joseph McElroy’s personal recollections of 11 September 2001.
Elsewhere there’s an interview with the German artist Max Neumann (whose ‘Animalinside’ painting, at the top of this email, was recently published as a collaboration with Krasznahorkai by The Cahiers Series) conducted by the poet Joachim Sartorius, a witty and illuminating essay by Anna Della Subin on the unwilling apotheosis of leaders including Nasser, Nehru and Gandhi, and translations by Robert Chandler and Boris Dralyuk of poems by Osip Mandelstam, one of the great, persecuted writers of post-revolutionary Russia. Kaya Genç, in a brilliant piece that takes as its starting point the socio-political implications of adopting a uniform, sheds light on the cultural tensions undermining contemporary Turkish society. In a wide-ranging essay, drawing on H.G. Wells, Futurama and Fredric Jameson (among other reference points), Henry Little presents a cultural history of the moon.
August’s online issue of The White Review is guest edited by Contributing Editor Jacob Bromberg. Jacob, a poet and translator based in Paris, says: ‘I’ve tried to assemble a grouping of pieces by young writers and artists who are doing work that is off the beaten track.’ David OReilly’s video ‘The External World’ is a mad amalgam of digital worlds with absurd potential and the bleak fragility of life, while his accompanying essay ‘Basic Animation Aesthetics’ outlines a theory of consistency as the baseline of aesthetic harmony.
This issue carries an interview with Turner Prize-nominated artist Spartacus Chetwynd, whose knock-down-drag-out aesthetic makes her work a popular favourite without recourse to the mass-market approach of a Jeff Koons or Damien Hirst. In his essay ‘The Ghosts of Place’, philosopher Dylan Trigg writes of his own experience in a haunted space and evaluates the interpretive lenses of hauntology and neuroscience, finding a space between the two in the fiction of M. R. James.
Irina Arnaut pokes at the figure of the artist to crack the carapace of polished social image in her video ‘Working Title’. Siân Melangell Dafydd’s ‘Foxy’ tells the story of a family member as wild as the taxidermied animal who shares his name. Elsewhere, novelist Will Heinrich writes a parable of the collector in ‘How to Be an American’, Adam Seelig’s ‘drop poem’ ‘To the woman’ creates an echo chamber through its typography, and Sarah Lariviere meditates on physical and emotional erosion.’
In this month’s online issue of The White Review Alexander Christie-Miller reports on the occupation of Istanbul’s Gezi Park, the international symbol for Turkish resistance to the evermore autocratic regime of Recep Tayyip Erdoğan. Writing from the city, he charts the growth of demonstration against the destruction of Istanbul’s public spaces into a rallying point for Turkey’s multifarious opposition.
The Pulitzer Prize-winning Irish poet Paul Muldoon tells us in an extensive interview conducted in New York that ‘the minute one thinks one knows what one’s doing… one’s probably making a terrible mistake’, which comes as some relief to the editors of The White Review. In his essay on ‘The New Writing’, translated by Rahul Bery, the Argentine author César Aira argues passionately in favour of innovation and progress in contemporary art and literature. The French writer Régis Jauffret is among those writers determined to break new ground in his fiction, and we are delighted to publish an excerpt from an as-yet unpublished translation, by Jeffrey Zuckermann, of univers, univers.
Another of those to fulfil Aira’s ambitions for new writing is Masha Tupitsyn, who riffs on Hamlet, Žižek and the Strokes in an excerpt from Love Dog, her multi-media reflection on love in the digital age. Elsewhere, Louisa Elderton interviews Sadie Coles, Frances Morris and others in the course of her investigation into the continued under-representation of women in the London art world.
Sheila Heti’s sensationally successful novel How Should a Person Be? was dubbed ‘HBO’s Girls in book form’ by the Guardian, while a recent event hosted by The White Review was described by the same newspaper, perhaps in need of some new pop culture references, as conjuring ‘the feel of a books party in Lena Dunham’s Girls with that of a rock gig’s moshpit’. So a collaboration seems overdue. We’re delighted to be publishing Sheila’s fabulous tale on the subject of love, neglect and Princess Catherine, ‘The Cherry Tree’.
In the same month that the editors sit on a panel at the ICA to discuss the future of experimental writing, it seems apt that we are publishing an interview with Lars Iyer, who with his recent trilogy of books Spurious, Dogma and Exodus has established himself among this country’s most exciting new writers. His treatise on contemporary literature, ‘Nude in Your Hot Tub, Facing the Abyss’, remains among the most widely read pieces in the history of this journal. In a similar vein to that piece, John Douglas Millar asks, as we traipse through the endless revisits to modernism occasioned by the centenary of 1913, whether contemporary practice in art and literature is being suffocated by its obsession with the past.
Juan Goytisolo is arguably Spain’s greatest living writer, and among the fiercest critics of both that country’s cultural insularity and European literary conservatism in general. We are honoured then, to carry ‘Jean Genet in Spain’, his personal account of the great French rebel’s time in Barcelona. Elsewhere, we bring you ‘Neologism: How Words Do Things With Words’, Maryam Monalisa Gharavi’s lecture at Art Dubai on ‘the impulse to invent new words’; a new short story, ‘What We Did After We Lost 100 Years’ Wealth in 24 Months’, by Agri Ismail; and two poems by Melissa Lee-Houghton.
First up, we bring you ‘Techno-Primitivism’, a collaboration between David Trotter and Vanessa Hodgkinson (‘a critic’s encounter with work by an artist who had encountered some of his ideas’) on achieving art and progress and literature in engaging with the past. We’re also thrilled to publish an interview with Darian Leader, in which he talks about Lacanian psychoanalysis, his writing career, the Mona Lisa, Big Pharma, and much more.
Fiction-wise, we couldn’t get further from unpublished writers from Britain and Ireland (see short story prize) than Ryu Murakami, ‘one of the few subversive writers we have’ (Nathaniel Rich, New York Times), whose brutal brand of Japanese noir translated by Ralph McCarthy is sure to cause a stir in the coming months as three of his novels are just out by Pushkin Press. Ricky D’Ambrose, the New York-based filmmaker and critic, takes on Michael Haneke, ‘the Last Modernist … [whose] radical scepticism is the flipside of his dandyism’. Saskia Hamilton, finally, contributes two poems, ‘Ad Tertiam’ and ‘Flatlands’.
This issue includes, notably, a conversation with polymath Billy Childish on Dada, his new book of poetry (‘It’s a bit sweary’), Dostoyevsky, Knut Hamsun… and parties. ‘I don’t go to parties,’ says Billy, ‘and I don’t hang out.’
We’re also delighted to publish Yoko Tawada on translating Paul Celan from German into Japanese, translated by Susan Bernofsky from Japanese into English. We’re also running an excerpt from Kate Zambreno’s Heroines, published by MIT Press; and an essay on transmediale, the new media arts festival, by Vid Simoniti.
Also online this month, new online-dating-related fiction by Natasha Soobramanien, ‘If Not, Not’; poems by James Byrne; and an interview with Indian writer Amit Chaudhuri on Calcutta, the subject of his most recent book.
It features a delightful exchange with writer Wayne Koestenbaum on the humiliations of the writing life (‘Writing for me involves anguish, ecstasy, yes – and also frustration, disappointment, horror, embarrassment. I subject myself to inward Karajanesque ferocious coaching; a sadistic répétiteur, I prod myself until the larynx opens.’) Koestenbaum, echoing his ‘Legend’ column, also indulges in some ekphrasis, commenting on a series of images including ‘Nico and Andy Warhol as Batman and Robin’.
Fiction-wise, we’re delighted to introduce Alex Kovacs, whose début novel The Currency of Paper is forthcoming from Dalkey Archive Press. Here’s the blurb: ‘Maximilian Sacheverell Hollingsworth is a counterfeiter, sculptor, filmmaker, sound artist, mystic, and terminal recluse, and over the course of fifty years, making use of a vast stockpile of illegitimate currency, he funds a great range of secret, large-scale art projects throughout London — from explorations of the far reaches of the imagination to more civic-minded schemes of an equally radical nature. At once a strikingly original satire of the ways in which art and currency conspire to favour certain voices and forms over others, and a story of surreal anti-capitalist machinations reminiscent of the works of B. S. Johnson and Georges Perec, The Currency of Paper announces the arrival of a great new voice in contemporary fiction.’
Also online this month, ‘Famous Tombs: Love in the 90s’, an essay on Johnny Depp and Winona Ryder, written by Masha Tupitsyn as part of a series on mourning & melancholia for her new book, Screen to Screen; two new poems by Les Kay; and an essay on art and national trauma by Rob Sharp that takes the work of Haitian artists made in the aftermath of the 2010 earthquake as its starting point.
We are delighted to present our (mini) January online edition, including an interview with activist and Adbusters co-founder Kalle Lasn – talking about his new book Meme Wars, Occupy and being open to the future. Also published this month is an essay by poet Stephen Romer on his long-standing friendship with Michael Hofmann and the audacity, irony and silence of his poetry. Lastly, we present new fiction from Patrick Langley written in response to a work of video art from Sophie Von Cundale.
Our November online issue features an interview with philosopher Simon Critchley – speaking on his recent obsession with ancient tragedy and how his work on that with Judith Butler and his wife, psychoanalyst Jamieson Webster, gave birth to a surprising new book on Hamlet. Also featured is Patrick Goddard’s wry short film, Difficulties in Impression Management, exploring Goffman, dinner parties, pissing on toilet seats/toilet etiquette and the complexities of social mores.
We’re also running an essay by Orlando Reade on new historicism, the London riots and acts of dissent read through the paintings of Lynette Yiadom-Boakye; Isabella Maidment on indeterminacy and performance in the groundbreaking live work of artist Cally Spooner, with exclusive film excerpts; and a gallery of photographs by Patricia Niven with an accompanying essay on walking from writer JA Murrin. Also featured in this online issue are fiction by Aidan Cottrell Boyce and poetry from Simon Pomery.
Our October 2012 online issue includes an interview with Icelandic author Sjon – speaking on mythology, folklore, storytelling and song lyrics. We’re also featuring Eddie Wrey’s short film, Palestinian Airlines, documenting the experience of an actor working in independent theatre under Israeli occupation in Ramallah.
We’ve got an essay by Rye Dag Holmboe responding to Philip Pullman on the use of the present tense in fiction and its corresponding modes in film and art; an excerpt from Caspar Henderson’s The Book of Barely Imagined Beings, published by Granta Books; and photographs from Mitra Tabrizian’s Another Country series with an accompanying essay from Matt Mahon. Also featured in this online issue is new fiction by Wayne Holloway, the director of the forthcoming film adaptation of Lee Rourke’s The Canal, and new poems by Stephen Devereux.
This month’s online issue sees Scott Esposito, editor of the Quarterly Conversation, respond to Lars Iyer’s essay-manifesto, ‘Nude in Your Hot Tub’. In his essay, ‘Negation’, Esposito argues against the ‘death of literature’, finding hope in the works of Oulipian writer Jacques Roubaud and the prolific Argentine novelist Cesar Aira.
Elsewhere: artist Lawrence Lek, featured in The White Review No. 1, interviews computational architect Michael Hansmeyer on the relationship between aesthetics and technology; Rye Dag Holmboe chairs a panel discussion with modernist poet John James, ex-Riverside Studios director David Gothard and curator Joe Melvin on performance art and documentation.
We’re also excited to be publishing our very first Russian writer, Maxim Osipov, whose short story ‘Moscow – Petrozavodsk’ is translated by Anne-Marie Jackson. Finally, poet Cutter Streeby contributes two experimental poems, ‘Interview’ and ‘Letter from a New City to an Old Friend’.
This month features an interview with artist Ryan Gander, a piece on the French philosopher Quentin Meillassoux by novelist Ned Beauman, a short story by Jesse Loncraine, and some poems by Campbell McGrath and W. N. Herbert.
Our July online issue includes interviews with Marxist social theorist David Harvey – speaking on social justice and the city across the world, from Occupy Wall Street to Chongqing in China – and artist and filmmaker Ben Rivers, director of Two Years at Sea, on the art of filmmaking.
We’ve also got an essay on the evolution of hashtags as cultural-political forms by Huw Lemmey, a memoir on womanhood, sex and feminism by Saskia Vogel and a piece on the rise of Arab theatre by Tanjil Rashid.
Also featured in this online issue is the winning short story from our Ideas Tap/White Review short story competition, ‘The Pits’ by FMJ Botham; an extract from Simon Okotie’s novel What Happened to Harold Absalon?, forthcoming from Salt Publishing later this year; and new poems by John Clegg and Abigail Nelson.
Our June online issue includes two newly translated poems by Nicaraguan poet and novelist Gioconda Belli, ‘At Night, The Wife Makes Her Point’ and ‘Menopause’. Belli, an ex-Sandinista, appeared at the Poetry Parnassus at Southbank Centre this month.
Following on from our successful event at Maggs Bros. last month, we’re also running an interview with William Burroughs’ friend and collaborator Malcolm McNeill, illustrator of Ah Pook is Here; and an expanded version of Charlie Fox’s captivating reading on Burroughs from said event. Also online this month we’ve got an excerpt from a novel in progress by Susana Medina and an essay on state-use of forensic speech analysis, inspired by Lawrence Abu-Hamdan’s The Freedom of Speech Itself.
Our May 2012 online issue leads with a superb and previously untranslated early short story, ‘Reflux’, by Nobel Prize for Literature laureate José Saramago. Also online this month are a career-retrospective interview with the delightfully jaded Jonathan Safran Foer on the art of writing and how not to conceptualise it; an essay on Russian Ark, art, and the aura according to Walter Benjamin by critic Scott Esposito; a short documentary film on PalFest by Murat Gökmen, introduced by Omar Robert Hamilton; and poems by Sam Riviere and Sarah Howe. We also have new fiction from Seraphina Madsen.
The April online issue includes an interview with Patience (After Sebald) director Grant Gee, an essay on Ryan Trecartin by Patrick Langley, a short story by Chimene Suleyman, a memoir on the destruction of Oradour during the Second World War in France by Will Stone, and poetry by Dana Goodyear and Heather Hartley.
The February 2012 online issue leads with an essay on Geoff Dyer’s Zona, itself an essay on Stalker by Andrei Tarkovsky, by Rose McLaren. We also have a short story, ‘A Gift from Bill Gates’ by Wu Ang, translated from Chinese by Nicky Harman; a lexicon of questions with the artistic duo Awst & Walther by Francesca Gavin’; and new poems by Rachael Allen and James Midgley.
This issue features an interview with activist and anthropologist David Graeber, often described as the theorist behind Occupy Wall Street. We also have a video by Omar Robert Hamilton of the Egyptian Revolution’s Bloody Wednesday; a short story by Paul Kavanagh; a presentation of James Richards’ video Not Blacking Out; and poetry by Jeffrey Angles and Minashita Kiriu.
Our November online issue features Lars Iyer’s controversial essay on the death of literature, ‘Nude in Your Hot Tub, Facing the Abyss (A Literary Manifesto after the End of Literature and Manifestos)’. We also publish an interview with Margaret Jull Costa; new fiction by Olivia Heal; a short piece on Occupy Oakland; and new poetry by Elyse Fenton, Eoghan Walls and James Brookes.
Our August-September edition, published over the course of several weeks, features interviews with artists Marnie Weber and Cornelia Parker; new fiction by Andrew Gallix, Patrick Langley and young German novelist Clemens Meyer (translated by Katy Derbyshire); and poems by Rikuda Potash, Michael Earl Craig and Joshua Trotter.
This month features an interview with Steven Shearer, Canada’s representative at the 54th Venice Biennale; an editorial on recent developments in the phone-hacking scandal; a report from an aid worker in Herat, Afghanistan; a new translation of ‘Letter of a Madman’ by Guy de Maupassant; and a new poem by Medbh McGuckian.
Our June online issue, published almost at the same time as The White Review No. 2, is a short one: it features an interview with the novelist Jorge Semprun; new fiction by Michael Amherst; and new poems by Connie Voisine and Camille Guthrie.
Our April-May 2011 online issue features D. W. Wilson’s piece on voice in fiction, in which he declared his undying love for a (fictional?) Annabel – originally featured in The White Review No. 1 – followed by Annabel Howard’s – she wasn’t fictional – response, ‘On the Relative Values of Humility and Arrogance; Or the Confusing Complications of Negative Serendipity’. This is the closest you’ll ever come to a fairy tale ending in The White Review: two years after this very public exchange, D. W. Wilson and Annabel Howard got married.
Also in this issue, a manifesto against cuts to the Arts Council by Charles Boyle, publisher of CB Editions; an interview with Alison Klayman on filming Ai Wei Wei: Never Sorry; a short piece on why he writes by Gavin James Bower; and an interview with Desmond Hogan, ‘probably the most famous Irish writer you’ve never heard of’.
This March we feature an essay on the artist Gabriel Orozco, on the occasion of his Tate Modern show; new fiction by Jesse Loncraine; an interview with Booker Prize-winner DBC Pierre; and photos from the Trafalgar Square protest by Cosmo Hildyard.
In the early days of The White Review we didn’t publish dedicated online issues, but rather published pieces as and when they were ready to publish. In our first two months of existence online, we featured: interviews with David Vann and Manfredi Beninati; essays on the beginnings of the Arab Spring, the ‘Twitter’ revolution, being on the dole, China’s CCTV, and the red shirts in Thailand; and fiction by Aidan Cottrell Boyce.