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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...

Que nos caravanes s’avancent Vers ce lieu marqué par le sang Une plaie au coeur de la France Y rappelle à l’indifférence Le massacre des innocents From ‘Chanson de la Caravane d’Oradour’, by Louis Aragon (12 June 1949)   I The atrocity of war committed by German forces at the French town of Oradour on the afternoon of 10 June 1944 is well documented It is not my aim here to echo such accounts by presenting a detailed investigation of the traumatic events, or to seek a way through the veritable labyrinth of national tragedy rhetoric that threatened to over-symbolise Oradour as a victim of war’s brutality, or to indulge in the prolonged mental exhaustion of attempting to ascertain the existential implications of its bitterly lingering aftermath My aim is rather to simply present my thoughts and observations on an indecently sunny afternoon when I visited the memorial ruins of Oradour some sixty-five years later But in doing so I shall be obliged to recount to some extent the terrible reality of that day   After the war President Charles de Gaulle paid a visit to Oradour and declared the ruins a permanent national monument to the suffering of civilians in war He declared that the site would be sealed off never to be rebuilt and thus remain a reminder to the excesses of totalitarian bestiality Oradour was to be frozen in time, preserved in the exact state that it was found after the perpetrators had left Nothing was to be touched or removed and the entire site, virtually unique in the western sphere of the war’s destruction, would be preserved as a nightmarish exhibit for future visitors to pass through and ponder the capacity of mankind to impose murderous destruction on complete strangers with impunity   Entering Oradour and obeying bold signs to the memorial ruins, I was surprised to find myself in a vast car park, a limitless expanse of tarmac, more suited one would think to a sports complex or shopping mall There on the sleek

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

Issue No. 4

The White Review No. 4 Editorial

The Editors

feature

Issue No. 4

We live in interesting times. A few years ago, with little warning and for reasons obscure to all but...

poetry

June 2011

Beautiful Poetry

Camille Guthrie

poetry

June 2011

‘Being so caught up So mastered.’ Yeats     I was too shy to say anything but Your poems...

Art

Issue No. 12

After After

Johanna Drucker

Art

Issue No. 12

So many things are ‘over’ now that all the post- and neo- prefixes are themselves suffering from fatigue. Even...

 

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