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91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage).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

Oeroeg was my friend When I think back on my childhood and adolescence, an image of Oeroeg invariably rises before my eyes, as though my memory were one of those magic pictures we used to buy, three for ten cents: yellowish, shiny little cards coated with dried glue, which you had to scratch with a pencil to reveal the image underneath That is how Oeroeg comes back to me when I delve into the past The setting may vary, depending on how long ago the period I am recalling is, but Oeroeg never fails to appear, be it in the overgrown garden at Kebon Djati or on the reddish-brown muddy paths along the sawahs in the Preanger highlands, in the hot carriages of the little train we took to primary school each day in Soekaboemi, or later, at the boarding-house when we were both at school in Batavia Oeroeg and me, playing and tracking in the wilderness; Oeroeg and me, hunched over our homework, our stamp collections and forbidden books; Oeroeg and me, ever together, during each and every stage of our development from child to young man I think it is fair to say that Oeroeg is imprinted in my being like a brand, a seal – now more than ever, since every form of communication has been banished to the past I do not know why I feel the need to take stock of my relationship with Oeroeg and of all the things he meant to me, and still means It may be something to do with what I felt was his inescapable, unfathomable otherness, that secret of spirit and blood which posed no problems in childhood and youth, but which now seems all the more confounding   *   Oeroeg was the eldest son of my father’s mandoer, and like me was born at Kebon Djati, the estate managed by my father We were only a few weeks apart in age My mother was very fond of Oeroeg’s mother As a young woman fresh from Holland and deprived of contact with other members of

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

January 2014

To Kill a Dog

Samanta Schweblin

TR. Brendan Lanctot

fiction

January 2014

The Mole says: name, and I answer. I waited for him at the indicated location and he picked me...

Art

June 2016

Art and its Functions: Recent Work by Luke Hart

Rye Dag Holmboe

Art

June 2016

Luke Hart’s Wall, recently on display at London’s William Benington Gallery, is a single, large-scale sculpture composed of a...

poetry

Issue No. 13

Watermen

Holly Pester

poetry

Issue No. 13

It’s Saturday and two men arrive at the door in the uniform. Thames Water. We’re checking the whole street,...

 

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