Mailing List


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91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage).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:  ...

feature

Issue No. 8

Barking From the Margins: On écriture féminine

Lauren Elkin

feature

Issue No. 8

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

I cough while the technician tinkers with the projector, although the two are not related, and I wonder why my throat is sore but I quickly decide that it was the airplane, those things are a wonderland for bacteria, and at least the snafu with the projector gives me time to take a sip from the glass of water in front of me, a glass that I’ve already topped up with a little whisky, which is a crime against single malt, I know, believe me I know, but it’s become a ritual now, every time I give one of these keynotes I find myself reaching for the hip flask, and it doesn’t hurt anybody in the end, and I don’t think anybody would blame me for needing to steady my nerves (even though my nerves never need steadying, I’ve often felt that they’re not so much made of organic material as they are built from some sort of steel or copper, pinging under my skin like telephone cable) given the size of the audience and the importance of this speech, which is not to say that I’m bragging about it, because somebody has to be on the podium and it might as well be me, and the years I put in at the coal face mean that I have a certain amount of experience to share, and my natural gravitas (again, I’m really not bragging, this is just a statement of fact based on my appearance – a full head of silver hair, a certain sharpness around the eyes – and voice – which isn’t as deep as you might expect, but there’s gravel on the riverbed) means that people tend to listen to that experience; you can see them now if you look around the hall, backs still straight in their seats and eyes still clear from coffee, hungry for somebody to explain to them why they bothered to register for this conference, hungry for somebody to bring some life to what would otherwise be a dry and dirty topic (I won’t bore you with the details,

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

feature

Issue No. 2

Lauren Elkin

feature

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...

READ NEXT

Interview

Issue No. 2

Interview with Richard Wentworth

Ben Eastham

Interview

Issue No. 2

Richard Wentworth is among the most influential artists alive in Britain. He emerged in the 1970s as part of...

Interview

October 2014

Interview with Jem Cohen

Steve Macfarlane

Interview

October 2014

Jem Cohen may be one of the quintessential New York filmmakers of our era. Peerless in his knack for...

poetry

Issue No. 8

The Cloud of Knowing

John Ashbery

poetry

Issue No. 8

There are those who would have paid that. The amount your eyes bonded with (O spangled home) will have...

 

Get our newsletter

 

* indicates required