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On Work: Roundtable

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Issue No. 21

The Editors

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Issue No. 21

In 2013 we encountered a pamphlet-sized book published by n+1 called No Regrets. It contained a series of conversations between different groups of women...

Feature

March 2018

Editorial

The Editors

Feature

March 2018

During his interview with Claudia Rankine in this issue, Kayo Chingonyi raises the subject of what role the arts...

Watching the recent public demonstrations protesting, at times violently, the Coalition government’s budgetary cuts, I was forced to revisit a long-held personal dilemma   I’ve described myself as ‘a writer’ from the age of nineteen, writing, at first, a series of features in and around the disparate areas of contemporary art – while at the same time arguing with very little subtlety in favour of my grand vision for the world, and how it should work While my writing today may well have outgrown its incipient characteristics of undergraduate anger and a quite spectacularly misplaced sense of superiority, I’ve not lost those early impulses to write Indeed, I’d say my desire to write – the compulsion to put pen to paper, as it were – has remained largely unaltered in what’s now a decade-long career Similarly, my motivations – explicitly political as they doubtless were from the start, against capitalist social relations and diametrically opposed to the current order of things – have stayed with me I’ve not so much as purchased a copy of Socialist Worker, however – despite the obvious opportunities to do so, especially while attending a redbrick university in the North More to the point, though, I’ve never joined any kind of physical march, riot or protest – against anything This I’ve always found difficult to explain, and is therefore my principal reason for this essay: to justify why I write rather than riot; to demonstrate briefly where this is mirrored by others; and to argue how this paradox must be upheld * When George Orwell wrote his seminal essay ‘Why I Write’, from which I take both title and inspiration – at least, in part – he made plain the motivations for a very particular type of artist: the writer Orwell, only a handful of years after his own participation in the Spanish Civil War, then provided four motives for writing: sheer egoism; aesthetic enthusiasm; historical impulse; and political purpose I myself would eschew, though not entirely dismiss, points two and three As a writer, it’s egoism and political purpose that defines both

Contributor

August 2014

The Editors

Contributor

August 2014

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September 2017

On The White Review Anthology

The Editors

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September 2017

Valentine’s Day 2010, Brooklyn: an intern at the Paris Review skips his shift as an undocumented worker at an...

Editorial

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Issue No. 20

The Editors

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Issue No. 20

    As a bookish schoolchild in Galilee, the Palestinian poet Mahmoud Darwish was invited to compose, and read in public, a poem marking...

feature

Issue No. 19

Editorial

The Editors

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Issue No. 19

‘A crisis becomes a crisis when the white male body is affected,’ writes the philosopher Rosi Braidotti, interviewed in...

feature

Issue No. 18

Editorial

The Editors

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Issue No. 18

This is the editorial from the eighteenth print issue of The White Review, available to buy here.    In 1991...

feature

Issue No. 17

Editorial

The Editors

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Issue No. 17

An Englishman, a Frenchman and an Irishman set up a magazine in London in 2010. This sounds like the...

feature

Issue No. 16

Editorial

The Editors

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Issue No. 16

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

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Issue No. 15

Editorial

The Editors

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Issue No. 15

In The Art of the Publisher, Roberto Calasso suggests that publishing is something approaching an art form, whereby ‘all...

Editorial

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Issue No. 14

The Editors

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Issue No. 14

Having several issues ago announced that we would no longer be writing our own editorials, the editors’ (ultimately inevitable) failure to organise a replacement,...
Editorial

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Issue No. 10

The Editors

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Issue No. 10

This tenth editorial will be our last. Back in February 2011, on launching the magazine, we grandiosely stated that we were ‘creating a space for...
The White Review No. 9 Editorial

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Issue No. 9

The Editors

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Issue No. 9

This ninth print issue of The White Review is characterised by little more than the continuation of the principles we have set out in...
The White Review No. 8 Editorial

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Issue No. 8

The Editors

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Issue No. 8

The manifesto of art collective Bruce High Quality foundation, the subject of an essay by Legacy Russell in this issue, states its intention to...
The White Review No. 7 Editorial

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Issue No. 7

The Editors

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Issue No. 7

A few issues back we grandiosely stated ‘that it is more important now than ever to provide a forum for expression and debate’. This...
The White Review No. 6 Editorial

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Issue No. 6

The Editors

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Issue No. 6

By the looks of it, not much has changed for The White Review. This new edition, like its predecessors, features the customary blend of...
The White Review No. 5 Editorial

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Issue No. 5

The Editors

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Issue No. 5

One of the two editors of The White Review recently committed a faux pas by reacting with undisguised and indeed excessive envy to the revelation...
The White Review No. 4 Editorial

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Issue No. 4

The Editors

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Issue No. 4

We live in interesting times. A few years ago, with little warning and for reasons obscure to all but a few, an economic system...
The White Review No.3 Editorial

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October 2011

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 problems they were previously so...
Editorial: a thousand witnesses are better than conscience

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July 2011

The Editors

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July 2011

The closure of any newspaper is a cause for sadness in any country that prides itself, as Britain does, on its possession of a...

READ NEXT

feature

February 2014

Only Responsible to Their Art: Heilan and the Chinese Avant-Garde

Chen Wei

TR. Tu Qiang

feature

February 2014

Heilan was established for a simple reason: over the past twenty years, there has not emerged a single medium...

poetry

April 2014

Obsolescence

Joseph Mackertich

poetry

April 2014

A lot of people tell me my voice is similar to that of the actor Christopher Walken. I don’t...

poetry

July 2012

Fig-tree

John Clegg

poetry

July 2012

He trepans with the blunt screwdriver on his penknife: unripe figs require the touch of air on flesh to...

 

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