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Robert Assaye
Robert Assaye is a writer and critic living in London.

Articles Available Online


Issy Wood, When You I Feel

Art Review

December 2017

Robert Assaye

Art Review

December 2017

At the centre of Issy Wood’s solo exhibition at Carlos/Ishikawa is a room-within-a room. The division of the gallery into two viewing spaces –...

Art

April 2017

'Learning from Athens'

Robert Assaye

Art

April 2017

The history of Documenta, a quinquennial contemporary art exhibition founded in the German city of Kassel in 1955, is...

Jessie Greengrass’s debut story collection caught my eye with its delightfully extravagant title, An Account of the Decline of the Great Auk, According to One Who Saw It, but its pleasures were more austere than baroque – and deservedly made it a multiple award-winner The stories broadly divided into two types: those, like the title story, that played on antiquated scientific and historical narrative modes, and those that dug themselves deeper into a wholly subjective experience of the world In these stories, nameless first-person narrators used compulsive self-analysis as much to distance themselves from feeling as to bring themselves closer to any kind of understanding of their lives Greengrass continues both strands of her writing in this, her first novel; you feel that stories from her collection like ‘All the Other Jobs’ or ‘Dolphin’ could easily have evolved into a book such as this, or been sewn into the fabric of this one   SIGHT sets its tone with the decidedly ambivalent opening line: ‘The start of another summer, the weather uncertain but no longer sharply edged, and I am pregnant again’ What follows comes in three parts, each of which focuses on a significant event in the life of the unnamed narrator – a woman living in London with her partner, Johannes, and their young daughter, and, yes, awaiting the birth of their second child – but each of which also folds in the story of a particular intervention in the history of medicine   First, we get the death of the narrator’s mother, some years earlier, and the discovery, in 1895, of the X-ray, by German physicist Wilhelm Röntgen The second section sets off the intricate cross-generational relationship between the narrator, her mother and her maternal grandmother, a Hampstead psychoanalyst, against the equally complex dynamic between Freud and his youngest daughter, Anna, whom he analysed, and who lived on in his London house after his death, nurturing his legacy Lastly, we have the birth of the narrator’s first daughter, and 18th century surgeon John Hunter, who among other things investigated the development of babies in utero   This might seem rather a lot

Contributor

August 2014

Robert Assaye

Contributor

August 2014

Robert Assaye is a writer and critic living in London.

New Communities

Art

January 2017

Robert Assaye

Art

January 2017

DeviantArt is the world’s ‘largest online community of artists and art-lovers’ and its thirteenth largest social network. Its forty million members contribute to a...
The Land Art of Julie Brook

Art

Issue No. 4

Robert Assaye

Art

Issue No. 4

Julie Brook works with the land. Over the past twenty years she has lived and worked in a succession of inhospitable locations, creating sculptures...

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feature

Issue No. 16

Editorial

The Editors

feature

Issue No. 16

The political and internet activist Eli Pariser coined the term ‘Filter Bubble’ in 2011 to describe how we have...

fiction

Issue No. 5

Sent

Joshua Cohen

fiction

Issue No. 5

These women lived in hope, they lived for the future as if they were every one of them already...

fiction

Issue No. 17

Harmless Like You

Rowan Hisayo Buchanan

fiction

Issue No. 17

Interstate 95, September 2016   Celeste sat on the front seat wearing her black turtleneck sweater. She had three...

 

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