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Lauren Elkin
Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage). Her previous book Flâneuse: Women Walk the City (Chatto/FSG) was a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay, a New York Times Notable Book of 2017, and a BBC Radio 4 Book of the Week. Her essays have appeared in Granta, the London Review of Books, Harper’s, the New York Times, and Frieze, among others. Her next book, Art Monsters, will be out in July 2023 (Chatto/FSG). She lives in London.

Articles Available Online


Maria Gainza’s ‘Optic Nerve’

Book Review

May 2019

Lauren Elkin

Book Review

May 2019

In his foreword to A Thousand Plateaus, on the pleasures of philosophy, and of Deleuze and Guattari’s philosophy in particular, Brian Massumi writes:  ...

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Issue No. 8

Barking From the Margins: On écriture féminine

Lauren Elkin

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Issue No. 8

 I. Two moments in May May 2, 2011. The novelists Siri Hustvedt and Céline Curiol are giving a talk...

Dead Reckoning   They say birds always find their way back home but home is a nowhere – a memory; a never was   Do wings remember spaces in the air the way we might a place? A field of rice?   How do you fly back to that? Away from a tomb of fears, this place yearning for you…   Some years ago, I lay bright flowers on my grandmother’s grave Years before, I saw   my grandfather’s ashes taken by the furrowing wind in the Bocas islands   I am not myself nor have I ever been something apprehending the sun   and other bright celestial objects thinking: this is a tapestry in orbit   around me I am completely convinced that we were the last creatures to discover   how to be in the world My beard grows wild My children brush past me in the darkness   Their chattering voices fill my ears and then my chest and I cannot hold it in   I am always coming home       Genealogies   Do not tell me a thing does not do what it does – that these chains (now plated in gold) are no longer chains, or that from above the clouds no longer look like drowned bodies washed ashore in the rolling surf I must go to my mother to learn the real names of the gorgeous objects in this greened world, of the beauties that can drive the body to exhale its life in one purpling sigh, the body that is a precarious house, assembled in this world but out of time   But I can no longer trust my mother’s histories They are not the taut suspensions my adolescent mind thought them to be   The blue-black body breaks at its closures, twisting in a dancing double helix dripping blood and amazement                                                           We will be Home soon Bowls filled with brown oxtail and broad beans At the food stand, an umber dog floats through the crowd like a leaf

Contributor

August 2014

Lauren Elkin

Contributor

August 2014

Lauren Elkin is most recently the author of No. 91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK...

The End of Francophonie: The Politics of French Literature

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Issue No. 2

Lauren Elkin

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Issue No. 2

I. We were a couple of minutes late for the panel we’d hoped to attend. The doors were closed and there was a surly-looking...

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Interview

March 2013

Interview with Billy Childish

José da Silva

Interview

March 2013

Buzzed in through the red metal door and down the stone steps into the bunker that is L-13. The...

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Issue No. 7

On a Decline in British Fiction

Jennifer Hodgson

Patricia Waugh

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Issue No. 7

‘The special fate of the novel,’ Frank Kermode has written, ‘is always to be dying.’ In Britain, the terminal...

fiction

April 2015

Heavy

Chris Newlove Horton

fiction

April 2015

It is a two lane road somewhere in North America. The car is pulled onto the shoulder with the...

 

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