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Rosanna Mclaughlin
Rosanna Mclaughlin is an editor at The White Review.

Articles Available Online


The Pious and the Pommery

Essay

Issue No. 18

Rosanna Mclaughlin

Essay

Issue No. 18

I.   Where is the champagne? On second thoughts this is not entirely the right question. The champagne is in the ice trough, on...

Essay

April 2019

Ariana and the Lesbian Narcissus

Rosanna Mclaughlin

Essay

April 2019

‘Avoid me not!’ ‘Avoid me not!’                                   Narcissus   Let me describe a GIF I’ve been watching. A lot....

The German filmmaker Ulrike Ottinger has on three different occasions put the camera aside and directed for the theatre, each time another a play by Nobel Prize laureate Elfriede Jelinek In 2010 they embarked on another kind of collaboration as Jelinek began contributing to the dialogues in the screenplay of Ottinger’s film project Die Blutgräfin (The Blood Countess) While the reasons for each artist to address undeath are as varied or polymorphous as the range and style of their oeuvres, a direct connection in Jelinek’s case to her 1995 ‘Gothic novel’ The Children of the Dead (Die Kinder der Toten) is doubled by her own conviction, ever since its publication, that this work was her masterpiece, her posthumously-addressed legacy And yet it was received by its first readership as a timely diagnostic encounter with the rise of right-wing politics in Austria   In allegorical work, as Walter Benjamin pointed out, the first layer of figuration and exegesis is wrapped around topical significance The Children of the Dead allegorises prefab Austria, in its own media reflection and echo, as a new youth culture that doesn’t need mass media now that it gets around as zombieism Against the reign of prosperous postmodernity in Austria since the mid-1980s, Jelinek’s novel is set on an uncanny continuity, symptomatised as zombie epidemic, with the postwar Austrian ego idyll of decontextualised fascism and denial of the Holocaust dead   ‘I Was There’ when the post-war era lingered, malingered on An excellent document of Vienna at the time I spent a year there is Valie Export’s movie Unsichtbare Gegner (Invisible Adversaries) It was the season right before the antifreeze content of Austrian wine was disclosed [Editor’s Note: a 1985 scandal in which it was revealed that some Austrian vineyards had been adulterating their product with diethylene glycol] In the late afternoon on a daily basis you encountered at every turn individuals throwing up and passing out in the streets Behind the counter at the local post office (where older women, so-called war widows, would ask for stamps for ‘Groß Deutschland’) sat a dwarf whose object of contemplation, the latest calculator gadget, was handcuffed to his wrist To register at

Contributor

July 2016

Rosanna Mclaughlin

Contributor

July 2016

Rosanna Mclaughlin is an editor at The White Review.

Ten Years at Garage Moscow

Art Review

November 2018

Rosanna Mclaughlin

Art Review

November 2018

When I arrive in Moscow, I am picked up from the airport by Roman, a patriotic taxi driver sent to collect me courtesy of...
Becoming Alice Neel

Art

August 2017

Rosanna Mclaughlin

Art

August 2017

From the first time I saw Alice Neel’s portraits, I wanted to see the world as she did. Neel was the Matisse of the...

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Art

September 2016

Sitting, scrawling, playing

Emily Gosling

Art

September 2016

Amidst the drills and concrete, white walls and big names of London’s Cork Street stands a new gallery, Nahmad Projects,...

poetry

November 2014

Lay and Other Poems

Pere Gimferrer

TR. Adrian Nathan West

poetry

November 2014

Ode to Venice Before the Sea of Theaters (from Arde el mar, 1966)   The false cups, the poison,...

feature

November 2011

Nude in your hot tub...

Lars Iyer

feature

November 2011

I. Down from the Mountain   Once upon a time, writers were like gods, and lived in the mountains....

 

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