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Chris Newlove Horton
Chris Newlove Horton is a writer living in London.

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DATE NIGHT

Prize Entry

April 2016

Chris Newlove Horton

Prize Entry

April 2016

He said, ‘Tell me about yourself.’ He said, ‘Tell me about you.’ He said, ‘Tell me everything. I’m interested.’ He said, ‘I want to...

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...

‘Before we met,’ writes Maggie Nelson to her lover Harry Dodge, the addressee of The Argonauts, ‘I had spent a lifetime devoted to Wittgenstein’s idea that the inexpressible is contained – inexpressibly! – in the expressed’ Nelson’s book, its intricate accretion of short philosophical observations, anecdote and commentary, belongs to a genre that we could call the piecemeal portrait (Nelson herself might favour the word ‘prismatic’) The apparent self-effacement of this indirect approach to autobiography is in line with modern sensibilities As the smooth omniscience of the nineteenth century novelist gave way to the unreliable, fragmentary narratives of today, so the idea of straightforwardly ‘telling’ a life now feels at best staid, at worst existentially misguided ‘The form is not “memoirs” but mémoires, fables from a time about a few people inside it,’ writes veteran-of-the-genre Adam Gopnik in The Stranger’s Gate There’s a charming shrug here: oh, it’s not really about me, it’s just a bunch of stories I threw together But of course part of the idea is that ‘me’ will emerge anyway Join the dots Or rather, intuit the inexpressible shape lurking in the interstices   Other recent examples include Karl Ove Knausgaard’s Autumn, and now the poet Brian Blanchfield’s first book of prose, Proxies We locate the author by a process of triangulation ‘Is there a mythology of the mythologist? Doubtless there is, and the reader will soon see for himself where I stand,’ writes Barthes, a common ancestor, in his preface to the 1957 edition of Mythologies ‘I’ve kept the essays in the order I wrote them, more or less’ – that shrug again, in Blanchfield’s preface to Proxies, modestly titled ‘[A Note]’ He goes on: ‘Whatever development can be tracked may correspond to what might be called a self’ When Proxies was published in the US last year, its subtitle was ‘Essays Near Knowing [a reckoning]’ The UK edition calls itself ‘A Memoir in Twenty-Four Attempts’ Initially, at least, Blanchfield presses harder on the self-effacement pedal than Gopnik et al But how does he measure up in other respects? Proxies is better than the Knausgaard (not difficult) but not as good as Gopnik or Nelson (Nelson is a close friend of Blanchfield, referenced several times

Contributor

August 2014

Chris Newlove Horton

Contributor

August 2014

Chris Newlove Horton is a writer living in London.

James Richards: Not Blacking Out...

Art

December 2011

Chris Newlove Horton

Art

December 2011

Artist James Richards appropriates audio-visual material gathered from a range of sources, which he then edits into elaborate, fragmented collages.   But whereas his...

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feature

Issue No. 9

Ordinary Voids

Ed Aves

Patrick Langley

feature

Issue No. 9

I am standing in a parallelogram of shrubbery outside London City Airport. Ed is twisting a dial on his Mamiya...

poetry

Issue No. 3

Camera & Even After He is Gone, the Cat is Here and I Cast My Suspicions on Him

Toshiko Hirata

TR. Jeffrey Angles

poetry

Issue No. 3

Camera You take my sweet sleeping face You take my innocent smile You take my large breasts Even though...

Interview

January 2013

Interview with Kalle Lasn

Huw Lemmey

Interview

January 2013

Reinventing a political culture is a difficult task to set oneself; political aesthetics develop alongside political movements, and tracing...

 

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