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Masha Tupitsyn
Masha Tupitsyn is a writer, critic, and multi-media artist. She is the author of the books Like Someone in Love: An Addendum to Love Dog, Love Dog, LACONIA: 1,200 Tweets on Film Beauty Talk & Monsters, the anthology Life As We Show It: Writing on Film. In 2015, she completed the film Love Sounds, a 24-hour audio-essay and history of love in English-speaking cinema. Her fiction and criticism have appeared in numerous anthologies and journals. She teaches film and gender studies at The New School. Her new film, Time Tells, is forthcoming in 2017.

Articles Available Online


The Rights Of Nerves

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September 2016

Masha Tupitsyn

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September 2016

‘I transform “Work” in its analytic meaning (the Work of Mourning, the Dream-Work) into the real “Work” — of writing.’ — Roland Barthes, Mourning...

Art

December 2013

When We Were Here: The 1990s in Film

Masha Tupitsyn

Art

December 2013

‘I remember touch. Pictures came with touch.’ -Daft Punk, ‘Touch’   In the 1990s, three important pre post-reality films...

Before I became a shelf-stacker and spent my evenings and nights in the aisles of the cash and carry market, filling shelves, fetching pallets from high on the storage shelves with the forklift, now and then helping one of the last customers of the evening and getting to know all kinds of food, I’d been working on building sites for a couple of years   I hadn’t given up of my own accord but I wouldn’t have kept it up all that long, even if the boss hadn’t fired me I was a builder’s mate, lugging sacks of cement and plasterboard, gutting flats – that meant I knocked the plaster off the walls, tore out fireplaces and chimneys with a big sledgehammer we used to call ‘Rover’, until I was covered in soot and dirt and spent hours getting the soot and dust out of my nose at home The firm didn’t even pay well and the boss was a bastard The guy came from Bavaria; I’ve met people from Bavaria who were actually OK though   I can’t remember exactly when all the fuss with the boss started, but I do know we were demolishing an old roof that day We found a big pigeon’s graveyard, two pigeons still alive and perfectly still in among all the bones, piles of feathers and pigeon shit and decomposing and mummified corpses, and we could only tell by their eyes and their heads, moving slightly every now and then, that they were waiting We fetched the Portuguese guys and they killed them with a blow of a spade Then we tipped lime over the pigeon graveyard and shovelled it all into buckets and tipped them down the rubbish chute fastened to the scaffolding outside   And after that we didn’t feel much like hard work any more; the pigeons had got to us We took the tiles off another section of the roof, not exactly motivated, removed the roof battens with wrecking bars, and then we took a lunch break   We usually had our lunch break at eleven thirty, and when the bells of the church just round

Contributor

August 2014

Masha Tupitsyn

Contributor

August 2014

Masha Tupitsyn is a writer, critic, and multi-media artist. She is the author of the books Like Someone in Love:...

Love Dog

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July 2013

Masha Tupitsyn

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July 2013

11 22 2011 – LOVE DOG     For months Hamlet has been floating around. Its book covers popping up everywhere. Non sequitur references...
Famous Tombs: Love in the 90s

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February 2013

Masha Tupitsyn

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February 2013

‘However, somebody killed something: that’s clear, at any rate—’ Through The Looking Glass, Lewis Carroll   I. BEGINNING   I was a pre-teen when...

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Interview

Issue No. 17

Interview with George Saunders

Aidan Ryan

Interview

Issue No. 17

The American short story writer George Saunders has the kind of reputation that makes one hesitate before typing his...

fiction

Issue No. 8

The Lady of the House

Claire-Louise Bennett

fiction

Issue No. 8

Wow it’s so still. Isn’t it eerie. Oh yes. So calm. Everything’s still. That’s right. Look at the rowers...

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Issue No. 14

Editorial

The Editors

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Issue No. 14

Having several issues ago announced that we would no longer be writing our own editorials, the editors’ (ultimately inevitable)...

 

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