Mailing List


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...

Here I offer some reflections and several facts potentially useful for a phenomenology of the mask Needless to say, these hypotheses are of an adventurous character With them I offer nothing less than an origin to the universal use of the mask by people, which goes back beyond this species, to the insects who still wear it     1 The Importance of the Mask   All humanity wears or has worn a mask This enigmatic accessory without useful end is more widespread than the lever, the bow, the harpoon or the plough Some peoples were entirely ignorant of more humble, or more precious tools Yet, they knew of the mask Some civilisations, among them the most remarkable, have prospered without having the idea of the wheel, or, worse, without knowing how to use it Yet they were familiar with the mask Man in general, abstract and hypothetical man, from the first eras and the first cultures – could not have embodied more accurately, more appropriately, Descartes’s saying: ‘I advance masked’ There is not a tool, an invention, a belief, a custom, or an institution which brings about the unity of humanity to the same degree accomplished by the wearing of the mask   The Mask remains mysterious What are the reasons that have driven people to cover their faces with a second visage, instrument of metamorphosis and ecstasy, of possession by the gods – instrument, as well, of intimidation and of political power? All of ethnology is filled with masks, and with the vertigo, the trances, the hypnoses, and the panics that are its nearly inevitable consequences Here I chance my first sprawling hypothesis: a people enters history and civilisation the moment they reject the mask, when they repudiate it as an instrument of individual or collective panic, once they consign it to an institutional function Even reduced to a simple carnival accessory or mundane festivity, it disquiets and fascinates Its power of seduction has been completely appropriated, yet it does not disappear I will come back to this For the moment, though, I would like only to underline that the problem

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...

READ NEXT

feature

April 2012

Oradour-sur-Glane: Reflections on the Culture of Memorial in Europe

Will Stone

feature

April 2012

Que nos caravanes s’avancent Vers ce lieu marqué par le sang Une plaie au coeur de la France Y...

poetry

November 2013

Rescue Me

George Szirtes

poetry

November 2013

Pain comes like this: packaged in a moment of hubris with a backing band too big for its own...

poetry

September 2012

Mainline Rail

Eleanor Rees

poetry

September 2012

Back-to-backs, some of the last, and always just below the view   a sunken tide of regular sound west...

 

Get our newsletter

 

* indicates required