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91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage).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

There were seven of us sat around the table Seven grown adults, sat around the table It was late We had eaten, and we had drunk, and now were drinking more The table, the heavy oak table, was if you will a beach from which the tide of a long and boozy dinner had receded, leaving its surface strewn with a tideline detritus of cork, crumb and ash Among which, on the table, having first cleared a space, with his hand, the side of his hand, Matt, a bottle An empty wine bottle, laid on its side Upon which, Matt’s hand rested, like a spider, fingers braced and knuckles up, as if to make a bridge in snooker   He wafted the bottle casually this way and that, the way a hoodlum sweeps a machine gun from side to side to cover his cowering targets, its malevolent arsehole neck-hole eyeing us each in turn   Come on, he said How about it?   God, people said I mean, come on, please   Grinning, he went to do it, coiling his wrist right round on itself to gain maximum torque, but Cath gave something like a snort of disgust and said, You’ve got to say what it is first You can’t just spin it   Okay, said Matt What was your most unusual sexual experience? And bang! he set it off, the bottle, sent it twirling on its axis in a spookily smooth, almost wobbly motion, as if it were moving above rather than on the surface of the table   I watched it spin, all my attention drained to my peripheral vision, to gauge the others’ reactions, their levels of dismay, acceptance, keenness As I did so I tipped my chair onto its two back legs, to signify insouciance, or ambivalence I wondered, in my tilting, about Matt’s choice of tense What was, he had said What was our most unusual sexual experience Were we that old that our most unusual sexual experience was, necessarily, behind us? Possibly, even, all of our sexual experiences?   Certainly we were too old for this game Spin the bottle is for students, a celebration of the fact

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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October 2011

The White Review No.3 Editorial

The Editors

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October 2011

In the course of putting three issues of The White Review together, the editors have been presented with the...

Art

March 2013

Beyond the Mainstream and into the Digital

Vid Simoniti

Art

March 2013

Claire Bishop. Everywhere I go, some curator or artist wants to be rid of this turbulent critic.   In 2006...

poetry

November 2011

One Night Without Incident

Eoghan Walls

poetry

November 2011

Freak July mists blurred all from Portsmouth to Reading in a late summer sky turned wholly unfit for bombing,...

 

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