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Rose McLaren

Rose McLaren is an artist in London.



Articles Available Online


Talk Into My Bullet Hole

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July 2015

Rose McLaren

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July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for those people?’ ‘Oh, I don’t...

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May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

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May 2014

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

I do not know whether I have anything to say, I know that I am saying nothing; I do not know if what I might have to say is unsaid because it is unsayable (the unsayable is not buried inside writing, it is what prompted it in the first place); I know that what I say is blank, is neutral, is a sign, once and for all, of a once-and-for-all annihilation —Georges Perec, W, or the Memory of Childhood     If Reality Hunger by David Shields represents one strand of literary prognostication to which Perec’s writing offers a fruitful response, there is another strand that Perec answers just as well: those gleeful prophets of the novel’s death   In order to tell this story we need to take a step back Perec’s writing was in sync with its times in the sense that it partook in the epic process of cultural commodification occurring over the second half of the twentieth century Products, beliefs and fashions that once existed on the boundaries of society were resolutely transformed into mass consumable versions that were bought up by the middle classes Things, Perec’s best-selling popularisation of the bohemian lifestyle, is one example of how he was part of this process Another would be Life A User’s Manual, which transmutes into literary gold hundreds of things that one would have never thought to put in a literary novel beforehand   One important thing Perec helped commodify was negation Negation was a huge thing in the 1960s, when Perec began to write It informed and empowered the groups then fighting against capitalistic culture In his essay ‘E Unibus Pluram,’ David Foster Wallace put forth the argument that the second half of the twentieth century was a time of two great changes: first, the development of this ‘no’ of resistance against capitalistic culture, and second, the co-opting of this ‘no’ of resistance into a catchy sales pitch Wallace identified the ‘no’ of resistance with irony—long a potent weapon of the oppressed—and then he went on to argue that the appeal of this irony had been taken

Contributor

August 2014

Rose McLaren

Contributor

August 2014

Rose McLaren is an artist in London.

The Prosaic Sublime of Béla Tarr

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Issue No. 6

Rose McLaren

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Issue No. 6

I have to recognise it’s cosmical; the shit is cosmical. It’s not just social, it’s not just ontological, it’s really huge. And that’s why we...
Stalker, Writer or Professor? Geoff Dyer's Zona and Genre

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February 2012

Rose McLaren

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February 2012

‘So what kind of a writer am I, reduced to writing a summary of a film?’ wonders Geoff Dyer half way through Zona. Such...

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Prize Entry

April 2017

The Bad Thing

Annie Julia Wyman

Prize Entry

April 2017

1.   It must have been around the same time she decided that she really was using all the...

fiction

May 2016

Panty

Sangeeta Bandyopadhyay

TR. Arunava Sinha

fiction

May 2016

She was walking. Along an almost silent lane in the city.   Work – she had abandoned her work...

fiction

January 2014

To Kill a Dog

Samanta Schweblin

TR. Brendan Lanctot

fiction

January 2014

The Mole says: name, and I answer. I waited for him at the indicated location and he picked me...

 

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