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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...

First of all, since everything must have a beginning, even if that beginning is the final point from which it cannot be separated, and to say cannot is not to say wishes not, or must not, it is simply impossible, for if such a separation were feasible, we all know that the entire universe would collapse, inasmuch as the universe is a fragile construction incapable of withstanding permanent solutions – first of all, the four routes were opened up Four wide roads divided the country, starting from their cardinal points in a straight line or ever so slightly bent to follow the earth’s curvature, and therefore as rigorously as possible tunnelling through mountains, dividing plains, and overcoming, supported on pillars, passing over rivers and valleys Five kilometres from the place where they would intersect, if this were the builders’ intention or rather the order received from the royal personage at the appropriate moment, the roads divided off into a network of major and secondary routes, like enormous arteries which had to transform themselves into veins and capillaries in order to proceed, and this self-same network found itself confined within a perfect square which clearly measured ten kilometres on each side This square which also had started out, bearing in mind the universal observation that opened the story, as four rows of trig points set out on the ground, subsequently became – once the machines that opened, levelled and paved the four roads appeared on the horizon, coming, as we said, from the four cardinal points – subsequently became a high wall, four curtain-walls which could soon be seen, as was already clear from the drawing- boards, delimiting a hundred square kilometres of flat or levelled ground, because a certain amount of clearing had to be done Land chosen to meet the basic need of equidistance from that place to the frontiers, a relative advantage, which was fortunately confirmed later by a high lime content which not even the most optimistic had the courage to forecast in their plans when asked for their opinion: all of this simply brought

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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feature

May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

feature

May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

poetry

December 2012

Off-Season

Miles Klee

poetry

December 2012

As a boy I went on a strange vacation with a friend. His parents took us, I can’t remember why,...

Art

Issue No. 2

Sri Lankan Contemporary Art

Josephine Breese

Art

Issue No. 2

Sri Lanka has developed a thriving, vital contemporary art scene over the past twenty years. New artists are emerging...

 

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