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91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage).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

El Polaco appears brandishing his Stanley, as he lovingly calls his pocket knife Five young hooligans huddle round him like classroom students He leaves them gobsmacked with a dazzling display of knife skills: in under a minute, he unscrews the four bolts in the reading light and air-vent panel over seats 31 and 32 Much to the consternation (or cowardice, according to El Polaco) of those travelling with the barra for the first time, he then removes the casing from the roof, leaving everything exposed, everything being the jumble of wires and cables that are usually hidden from public view Hidden and forgotten about, which is how the barra feel they’re treated by society ‘Before we hide it, we have to wrap it up in something… We need a hat,’ El Polaco says, and one of his disciples snatches a cap off a younger barra’s head   ‘Everyone has to muck in here, compadre,’ the timid young lad is told, as he watches his blue cap, red ‘U’ embroidered on the front, disappear into a sea of twenty-year-old hands   El Polaco carefully wraps the grenade up in the cap That’s right, the grenade A weapon of war We have a miniature bomb on the bus with us A genuine piece of munition that someone stole, we’re told, from the army when doing military service   ‘They’re amazingly easy to launch You just pull this pin, release the safety catch with your teeth and chuck it,’ one of the more experienced barra adds calmly Fear paralyses the rest of us: football fans who’ve left behind parents and girlfriends, neighbourhood friends, younger brothers, team posters on bedroom walls, a flag commemorating last year’s league title, a collection of match tickets in the bedside drawer All left behind, at home, a place that seems increasingly far away All to go on an away trip abroad for the first time All for the team   With the speed and dexterity of a practised pickpocket, El Polaco tucks the hat-explosive in among the cables and screws the panel back in place He leaves not a trace Nothing to suggest that above

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

March 2012

Swimming Home

Deborah Levy

fiction

March 2012

‘Each morning in every family, men, women and children, if they have nothing better to do, tell each other their...

poetry

April 2017

The Village

Mona Arshi

poetry

April 2017

                                 When I pronounce...

Art

March 2014

Amy Sillman: The Labour of Painting

Paige K. Bradley

Amy Sillman

Art

March 2014

The heritage of conceptualism and minimalism leaves a tendency to interpret a reduction in form as intellectually rigorous. If...

 

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