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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...

Guiding issue 31 of The White Review are questions of survival How to carry on in the aftermath of catastrophe? How to reckon with the spectres of history? How to transform an ordeal into something liveable – or even something pleasurable?   Within these pages, violence is the subject of scrutiny and polemic, but wounds and weapons are also reimagined The issue begins with Lina Meruane’s darkly erotic short story ‘Deeper’, translated by Megan McDowell, in which a woman refuses to sew up a surgical lesion because she’s found another use for her ‘new opening’ In ‘Seaglass’, a personal essay on displacement and loss in Libya and Lebanon, Moad Musbahi uses washed-up glass as a metaphor for ridding shrapnel of danger Issue 31 also contains two startling works of short fiction by Pip Adam, in which people begin to grow so large that the rich and powerful arrange for their disposal, an essay by Philippa Snow on Anna Nicole Smith, who lived and died in the image of her idol, Marilyn Monroe, and a letter to England by Thomas Glave, in which the author addresses the legacy of the British Empire Elias Rodriques explores the role insomnia, music and kinship play in the lives of a Jamaican family who relocate to the US, and Celia Bell’s anti-fable, ‘The Magic Dollar’, tells the tale of a woman who murders her own conscience There is poetry by Fran Lock, Kimberly Campanello and Shripad Sinnakaar, Fernanda Melchor discusses her love of horror and nota roja (a form of sensationalist journalism popular in Mexico), and Anuk Arudpragasam reflects on writing about the Sri Lankan Civil War and its aftermath   ‘Maybe I could just catch a shaft of light, and something could transform’, the artist Jamie Crewe says in a far-reaching interview, in which they discuss using the myth of Orpheus and Eurydice – the story of a woman consigned to live in darkness – as ‘a way of talking about transness’ Crewe rephotographed a scene from the animated video Pastoral Drama (2018) especially for the cover of The White Review, and a series of stills from

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...

READ NEXT

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February 2013

Famous Tombs: Love in the 90s

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  ...

poetry

July 2011

Letter of a Madman

Guy de Maupassant

TR. Will Stone

poetry

July 2011

Introduction by the translator In the early hours of 2 January 1892, sensing the approach of insanity, the renowned...

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February 2011

Red Shirts in Thailand

Sam Brown

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February 2011

The closest I had ever come to a protest was in 2003, in Bangkok, when I tried and failed...

 

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