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Kevin Brazil
Kevin Brazil is a writer and critic who lives in London. His writing has appeared in Granta, The White Review, the London Review of Books, the Times Literary Supplement, Art Review, art-agenda, Studio International, and elsewhere. He is writing a book about queer happiness.

Articles Available Online


Alvaro Barrington, Garvey: Sex Love Nurturing Famalay

Art Review

October 2019

Kevin Brazil

Art Review

October 2019

The unofficial anthem of this year’s London Carnival was ‘Famalay’, a bouyon-influenced soca song that won the Road March in Trinidad & Tobago’s Carnival...

Essay

October 2018

The Uses of Queer Art

Kevin Brazil

Essay

October 2018

In June 2018 a crowd assembled in Tate Britain to ask: ‘What does a queer museum look like?’ Surrounded...

Many years ago a large Russian man with the longest tendrils of the softest white hair came to live in the fastest growing town in Europe which at the time happened to be in the southwest of England Very little is known about why he came there or what he did with himself but one thing relating to his daily round that can be set down with utmost confidence is that whenever the Russian man needed groceries he’d fold himself into his small maroon car and drive to a retail park in the suburbs to get them And probably the reason he went to that retail park and not another was because there was a very pleasant supermarket in that retail park which aside from Saturday mornings naturally never got too busy and as such there was always an available parking space up near the exit and entrance doors and this in all likelihood suited the Russian man very well because he would likely have had tremendous difficulty finding his own car if it was only shoved haphazardly in there somewhere among all the other cars parked one after the other with cracking midday sunlight spreading out all over them diluting their already indistinguishable roofs in the practically endless carpark The Russian man’s car was fairly distinguishable for the reason that it was ancient which meant it was a distinctly vintage colour and had the finish furthermore of an old immoveable garden gate which meant it could hold its own against the suburban sun’s brash emanation But in all likelihood the Russian man did not in any case know what his own car looked like so the only way he could find it was to be certain of where he left it and this perhaps explains why the Russian man liked to park his small maroon car up near the entrance and exit doors of the supermarket which despite its commodious proportions had the familiar feel and botherless charm of a corner-shop Right there on the perimeter of this booming yet visionless town in the southwest of England   Once inside the supermarket the Russian man would seize a basket from the pile that could always be counted on to

Contributor

July 2018

Kevin Brazil

Contributor

July 2018

Kevin Brazil is a writer and critic who lives in London. His writing has appeared in Granta, The White Review, the London...

Nora Ikstena's ‘Soviet Milk’

Book Review

August 2018

Kevin Brazil

Book Review

August 2018

Soviet Milk by Nora Ikstena opens with two women who cannot remember. ‘I don’t remember 15 October 1969,’ says the first. ‘I don’t remember...

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Art

February 2013

Haitian Art and National Tragedy

Rob Sharp

Art

February 2013

Thousands of Haiti’s poorest call it home: Grand Rue, a district of Port-au-Prince once run by merchants and bankers,...

feature

November 2014

The Last Redoubt

Scott Esposito

feature

November 2014

As they say of politics, I have found essay-writing to be the art of the possible. Certain work can...

Art

Issue No. 1

'Untitled (book covers)'

Viktor Timofeev

Art

Issue No. 1

A slideshow presenting a series of collages by the London-based Latvian artist Viktor Timofeev, one gouache by whom was...

 

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