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91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage).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

The way I see it, the avant-garde emerged at a point when the professionalisation of artists had consumed itself and it became necessary to start again from scratch Art had already been invented, and the only thing to be done was to go on producing works, and the myth of the avant-garde came about to restore the possibility of making the journey from the origin again   If the actual process had taken two or three thousand years, what the avant-garde proposed could only function as a simulacrum or a pantomime version, hence the ludic, or at any rate the not-too-serious quality, the carnivalesque instability which avant-garde movements have possessed But history abhors stable situations, and the avant-garde was the response of a social practice – art – the purpose of which was to recreate an evolutionary dynamic   In effect, once the ‘professional’ novel – if we limit ourselves to the art of the novel – had come into existence, in a state of perfection that cannot exceed its premises (the novel of Balzac, Dickens, Tolstoy, Manzoni), it runs the risk of becoming congealed One could say that if the only risk is that novelists might keep on writing like Balzac, then it is a risk we are willing to take, and with pleasure But in reality it’s optimistic to talk of a mere ‘risk’ because this process of congealment has actually taken place Thousands of novelists have continued to write Balzacian novels during the twentieth century: an unending stream of commercial fiction, fleeting, frivolous novels written for the purposes of either entertainment or ideology To take even a single step further, as Proust did, requires a colossal effort and the sacrifice of an entire life The law of diminishing returns comes into play: the innovator covers almost all the ground in his initial attempt, leaving his successors a space that gets smaller every day and in which it’s more and more difficult to move forward   Once a professional novelist is established, he has two equally melancholy alternatives: to keep writing the ‘old’ novels in updated settings; or to heroically attempt to take

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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fiction

November 2011

Sheepskin

Olivia Heal

fiction

November 2011

The first I noticed was your thumbnails, large, round and flat, like two plates. They were marked with yellowed...

Art

October 2013

At the Tate Britain: Art Under Attack

Joe Moshenska

Art

October 2013

Iconoclasts have never known quite what to do with the ruined fragments that they leave behind. If we imagine...

fiction

August 2013

Foxy

Siân Melangell Dafydd

fiction

August 2013

If you don’t want to lose your eyes, grab them by the veins sticking out of their behinds and...

 

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