Mailing List


Skye Arundhati Thomas
Skye Arundhati Thomas is co-editor of The White Review.

Articles Available Online


Interview with Bani Abidi

Interview

Issue No. 33

Skye Arundhati Thomas

Interview

Issue No. 33

In the three-minute short Mangoes (1999) by Berlin-based Pakistani artist Bani Abidi, two women sit next to each other on a white table, each with...

Art Review

February 2019

Simryn Gill, Soft Tissue

Skye Arundhati Thomas

Art Review

February 2019

I walked into Simryn Gill’s exhibition SOFT TISSUE at Jhaveri Contemporary on one of the worst days of an...

On a wet, grey morning in March, William Boyd invited us into a large terraced house, half-way between the King’s Road and the Thames On the right-hand side of the thin corridor’s crisp white walls hung three dozen framed figurative paintings of identical sizes, each no bigger than a paperback book These were David Hockney’s series of flower sketches, executed on tablet computers and smart phones   The enthusiasm which William Boyd shows for these is in keeping with the evident pleasure he has in a range of creative arts – his career contains numerous film and television credits, alongside his notorious forays into the art world as the ‘lost’ abstract expressionist painter Nat Tate’s biographer Having authored a monograph in 1998 on Tate, backed by stellar co-conspirators David Bowie and Gore Vidal, he convinced many in the art world of the existence of this entirely fictitious artist who had supposedly killed himself at the age of thirty-two in 1960 – in the style of Hart Crane, by jumping off a boat – after destroying ninety-nine percent of his work Opposite Hockney’s digital essais sat a solitary Nat Tate, painted in preparation for the hoax by Boyd himself a decade or so ago   The interview took place in an excessively heated first-floor living-room; paintings in various styles cluttered the walls, illuminated by tall bay windows The central coffee table was stacked full of books, six or seven high – Robert Musil’s The Man Without Qualities and Lewis Crofts’ The Pornographer of Vienna prominent among them – testament to the meticulous research that goes into the composition of a William Boyd novel His next book, set in Freud’s Vienna, will be his sixteenth, in a career spanning three decades that includes several short-story collections and volumes of non-fiction   Perhaps his most ambitious projects have been the trilogy of works that tasked themselves with chronicling entire human lives, beginning with The New Confessions and Nat Tate: An American Artist These include his most celebrated novel, Any Human Heart, which tracks the course of its hero Logan Mountstuart through the chaos of the twentieth century Boyd’s life seems comparatively easy compared

Contributor

February 2018

Skye Arundhati Thomas

Contributor

February 2018

Skye Arundhati Thomas is co-editor of The White Review.

Bani Abidi & Naeem Mohaiemen, I wish to let you fall out of my hands (Chapter 1)

Art Review

February 2018

Skye Arundhati Thomas

Art Review

February 2018

Loneliness is mostly narrative. It also has an aesthetic: an empty tableau in which the lonely act is performed. In Naeem Mohaiemen’s Tripoli Cancelled...
The characters in We That Are Young reside at ‘The Farm’ – a sprawling house in New Delhi complete with its own topiary of fat peacocks, bulbous pink flowers with English names, Fendi furniture, and a room in which it snows at the press of a button It’s not far removed from reality – Antilla, the world’s first billion-dollar residence for a single family of four, is a 40-storey building that towers over the suburbs of South Mumbai, replete with a staff of over 600 people, its own electrical power grid, ten-storey parking for a collection of unusable vintage cars, and a room, of course, where it snows on demand In dialogue with Shakespeare’s King Lear, Taneja’s debut novel explores the lives of a family that owns a multinational conglomerate, ‘The Company’, to which each character’s fate (and inheritance) is inextricably tied We have our patriarch, the Lear figure, Devraj; his three daughters Sita, Radha and Gargi; and his right-hand man Ranjit’s two sons, Jeet and Jivan The embarrassment of riches makes for an irresistible, if outlandish, setting; Taneja vividly indulges our intrigue in the way the rich conduct their daily lives, letting her words ooze out their luxury – filthy, yet so desirable After a particularly gruesome scene in which Radha administers the plucking out of a man’s eyes, she steps back into her suite and calls for a pot of first flush Assam, and rose macaroons   A reinterpretation of Shakespeare is the perfect postcolonial conquest: he remains the epitome of the Western canon, patriarchal, and repeatedly failing to include representations of the ‘other’ without recourse to parody Mainstream appropriations of Shakespeare in South Asia, such as Bollywood filmmaker Vishal Bharadwaj’s trilogy Maqbool (Macbeth), Omkara (Othello), and Haider (Hamlet), have generally taken us to rural settings, wherein tragedy is relegated to a matter of the lower castes Taneja, a Shakespearean academic and human rights activist, eschews such stereotypes, and goes straight for the jugular: the innate hypocrisy of the Indian class and caste system ‘It’s not about land, it’s about money,’ states the first line of the book, taking
Preti Taneja’s ‘We That Are Young’

Book Review

October 2017

Skye Arundhati Thomas


READ NEXT

poetry

November 2014

Like Rabbits

Bethan Roberts

poetry

November 2014

When my husband unrolled the back door of the brewery’s lorry and hoisted first one cage, then another, onto...

Interview

January 2015

Interview with Rodrigo Rey Rosa

Scott Esposito

Interview

January 2015

Instructions: Take the high modernist and early postmodernist experimentalism of Argentines Jorge Luis Borges and Adolfo Bioy Casares. Move...

Art

January 2017

New Communities

Robert Assaye

Art

January 2017

DeviantArt is the world’s ‘largest online community of artists and art-lovers’ and its thirteenth largest social network. Its forty...

 

Get our newsletter

 

* indicates required