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91/92: notes on a Parisian commute (Semiotext(e)/Fugitives) and the UK translator of Simone de Beauvoir's previously unpublished novel, The Inseparables (Vintage).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

Everyone who asks questions, asks in some way about love The question is one half, the answer the other If you separate the Lovers you don’t end up with two distinct people Instead you’re left with two halves of a self, incapable of doing much on their own Imagine a coin with one side, or a story with one side Imagine peeling the skin off your arm Imagine the worst thing that could ever happen to you, happening to you When one Lover’s gone, the other doesn’t know what to do When a Lover was a waitress she dropped all the plates she carried When a Lover was a cashier he could never count out the right change When they worked opposite hours they lost entire days They looked at the moon more than they looked at themselves They’d rifle through medicine cabinets in other people’s houses and read the magazines other people subscribed to They went to the places where others decided to go When they’re apart they forget their names; when they’re together they don’t respond to them   ‘We can tell you your future, if you tell us your dreams,’ is what the Lovers say upon being found They listen to one of your dreams if you buy each a Moscow Mule, and after will tell a part of the coming days It can be insignificant, like a bee ‘Watch for bees,’ a Lover says to you ‘Are you allergic?’ You’re not ‘That’s good’ Their smiles are sleepy; they ruffle each other’s hair   The next Tuesday you step on a bee You see the Lovers later that week at the Mercantile You ask how they’d extracted bees from your dream, in which there weren’t any bees ‘There’s no future in dreams,’ one Lover says, the girl ‘None that would be worth telling, anyway’ You expect the Lovers to evade but they don’t ‘It’s about faces,’ the boy goes on ‘Seeing what’s there The past is in your teeth The future’s in your eyes’   You wonder why they asked about

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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Interview

June 2012

Interview with Malcolm McNeill

Patrick Langley

Interview

June 2012

I first met Malcolm McNeill in 2007. He was in London to do some printing for an exhibition, and he showed...

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August 2013

The Ghosts of Place

Dylan Trigg

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August 2013

 ‘So I turned around for an instant to look at what my field of vision onto the sea had...

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Issue No. 10

Seventeen Contradictions and the End of Capitalism

David Harvey

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Issue No. 10

Prospects for a Happy but Contested Future: The Promise of Revolutionary Humanism   From time immemorial there have been...

 

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