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Kevin Brazil
Kevin Brazil is a writer and critic who lives in London. His writing has appeared in Granta, The White Review, the London Review of Books, the Times Literary Supplement, Art Review, art-agenda, Studio International, and elsewhere. He is writing a book about queer happiness.

Articles Available Online


Alvaro Barrington, Garvey: Sex Love Nurturing Famalay

Art Review

October 2019

Kevin Brazil

Art Review

October 2019

The unofficial anthem of this year’s London Carnival was ‘Famalay’, a bouyon-influenced soca song that won the Road March in Trinidad & Tobago’s Carnival...

Essay

October 2018

The Uses of Queer Art

Kevin Brazil

Essay

October 2018

In June 2018 a crowd assembled in Tate Britain to ask: ‘What does a queer museum look like?’ Surrounded...

This story may or may not end in Venice and in silent, unacknowledged tragedy but let it begin here, in London, where RubyTuesday and CallMeIshmael first meet in person, having arranged to do so under the tapestry which hangs in the lobby of The British Library   Neither RubyTuesday nor CallMeIshmael will realise until they visit the museum where the original hangs on permanent display some seven months later that this tapestry is actually a reproduction of a famous painting They will wander into an upstairs gallery late one Sunday afternoon where RubyTuesday will stop dead, chin tilted, before a painting identical in image, if not in form, to the tapestry under which she and CallMeIshmael first met She will point this out to CallMeIshmael who will say, A tapestry of a painting? That’s like a drawing of a photograph And RubyTuesday will laugh in that gurgling way he likes, the way he secretly thinks sounds a little like she is being choked sexually –consensually – and while she’s still laughing, CallMeIshmael, to his surprise, will propose   The Company advises you that there may be risks of dealing with Members acting under false pretences or with criminal intent Be careful in dealing with other Members You alone are responsible for ensuring that your interaction with other Members is lawful   The reason CallMeIshmael will not recognise the painting when they walk into the gallery in Edinburgh is that he never really noticed the tapestry reproduction of it in London, seven months previously, beyond the fact of its being a tapestry, and the one under which they had arranged to meet, being too nervous about his first ever meeting with RubyTuesday to consider it in any detail Here he is now, fifteen minutes early He’s standing against the wall, under the hanging tapestry, his back to it If he were to look up at the tapestry he might notice the neuralgic sunset, the apocalyptic palm trees, the poet with a hearing aid cradled by a Gauguin babe; he might notice, in the top left-hand corner – though he may not recognise it as such – the watchtower of Auschwitz But CallMeIshmael is looking down He is inspecting his brogues, wondering if he should have left them unpolished He

Contributor

July 2018

Kevin Brazil

Contributor

July 2018

Kevin Brazil is a writer and critic who lives in London. His writing has appeared in Granta, The White Review, the London...

Nora Ikstena's ‘Soviet Milk’

Book Review

August 2018

Kevin Brazil

Book Review

August 2018

Soviet Milk by Nora Ikstena opens with two women who cannot remember. ‘I don’t remember 15 October 1969,’ says the first. ‘I don’t remember...

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Art

May 2017

Francis Upritchard

Filipa Ramos

Art

May 2017

Where do anthropology and archaeology meet? Do the study of humankind and the research of its material culture share...

Interview

May 2012

Interview with Jonathan Safran Foer

Jacques Testard

Interview

May 2012

Much has been written about the precocity and talent of Jonathan Safran Foer, whose debut novel Everything is Illuminated...

Interview

February 2015

Interview with Nicholas Mosley

Alex Kovacs

Interview

February 2015

Nicholas Mosley’s reputation as a writer has often been obscured by the extraordinary nature of his family background. Born...

 

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