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91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage).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

Listen to her She is telling you about her adolescence She is telling you about one particular ‘bender’ that lasted three days I was getting blacked out again in the morning, she says Smoking cigarettes Nine hours in her mum’s garden, unable to stand up It disturbed her for a long time She felt sick every time she thought about it, not because she could remember it, but because she couldn’t She could only recreate it That was the only time I wished that I was dead With survival comes loss – loss of sight, of time, of your sense of self She didn’t know what she had or hadn’t done when black out drunk, could never say because she lost so much time She was there but didn’t see it happen   Anita Harris would call her a ‘have-not’ girl Adolescent girls are made to embody society’s fears and hopes for the future, and as such are judged on their capacity for self-invention Adolescent girls are expected to make good choices for themselves As Harris writes in Future Girl, they have become ‘a focus for the construction of an ideal late modern subject who is self-making, resilient, and flexible’ Not everyone can be a ‘can-do’ girl, a good Future Girl Not all young women are ‘killing it’   The woman speaking in Jordan Baseman’s Blackout, on view at TAP in Southend-on-Sea, was a ‘have-not’ girl: she drank until she blacked out, was promiscuous and deceitful, and had no regard for her health or her safety She says she didn’t do anything for five years, that now she feels in-between: matured from her problem with alcohol and yet ‘behind’ everyone else She knows some things She thought her problem with alcohol set her apart from other people That it made her ‘interesting’ – she was living in a different way to everyone else She had chosen it But she was a girl who made bad choices, consumed the wrong substances and abused her body She was not, in other words, self-making, resilient or flexible in the ‘right’ way A have-not girl is a

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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Art

May 2011

Twelve Installations

Lawrence Lek

Art

May 2011

These installations express the transience of our sensory world, the impermanence of form, and the artificiality of our environment....

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November 2011

The nobility of confusion: occupying the imagination

Drew Lyness

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November 2011

The Oakland Police Officers Association in California said something clever recently: ‘As your police officers, we are confused.’ It...

poetry

August 2013

To the Woman

Adam Seelig

poetry

August 2013

 

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