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an image of Issue 33 of The White Review, featuring three film stills of swimmers in goggles and caps in dark water

The White Review
No. 33

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The White Review No. 33 features interviews with writer Siri Hustvedt and feminist scholar Sara Ahmed. The issue includes new fiction by Gina Apostol,...

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Prize Entry

The White Review Poet’s Prize 2023
For the first time this year, The White Review Poet’s Prize was open to poets based anywhere in the world. Last month we announced a shortlist of eight poets. ...

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Dylan Suher

Dylan Suher is a contributing editor for ASYMPTOTE and a scholar of Chinese literature based in Hong Kong. He was born and raised in Brooklyn.



Articles Available Online
Sinking into Exile

Book Review

May 2021

Dylan Suher

Book Review

May 2021

I am admittedly an outsider to Hong Kong, but as Liu Yichang’s 1962 novel The Drunkard proves, the outsider is a classic Hong Kong...
Yeng Pway Ngon’s ‘Unrest’

Book Review

March 2018

Dylan Suher

Book Review

March 2018

The four Chinese student activists of Yeng Pway Ngon’s Unrest were revolutionaries only for a moment; in the three decades that the novel spans, they struggle...

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Interview with Keston Sutherland

Interview

Issue No. 7

Natalie Ferris

Interview

Issue No. 7

Said by the New Statesman to be ‘at the forefront of the experimental movement in contemporary British poetry’, Keston Sutherland’s poetic and critical work...

Interview

February 2014

Interview with Patrick Keiller

David Anderson

Interview

February 2014

Patrick Keiller, an architect ‘diverted’ into making films, is principally known for his Robinson series, which began with  London (1994)...

feature

February 2011

Old media, new year: China’s CCTV woos the nation’s netizens

Shepherd Laughlin

feature

February 2011

The CCTV New Year’s gala broadcast, known in Mandarin as Chunwan, is probably the most massive media event you’ve...

Art

October 2015

Licence to Play

Thirza Wakefield

Art

October 2015

In his 1992 essay ‘In Search of the Centaur’, the writer and critic Phillip Lopate described the essay-film as...

 

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