Cusk flags up a great truth: other people’s conversations will only ever be filtered through the interpretive prism of the listener.
In contrast to a long history of erotic representations of female nudes, Pearlstein’s models are not sexualized. Their bodies are not offered up to the viewer’s gaze, but are positioned with a strange sort of nonchalant agency.
An interview with Catherine Pégard, President of the Château de Versailles.
The desire to carve out an “I” from a “we” — an individual self from a collective history — is a futile gesture.
Autobiography, Louis reflects, is a luxury the working class are rarely afforded.
Among the cats and sunsets and carefully curated cappuccino shots, Instagram finds itself home to a new literary phenomenon: Instagram poetry.
The book’s three-part structure, moving from “End” and “Middle” to “Beginning,” marks a departure from the well-trodden path of the broken-hearts poets club.
While the promise of a steamy romp through well-to-do Parisian society might help sell “Adèle,” this is not where the book’s originality lies.
This article explores the constrained writing practices of Austrian-American writer Walter Abish in relation to those of the French literary group the Oulipo
Rather than offering an inventory of poetic imagery, as it did for Baudelaire, for many contemporary poets, trash provides productive conceptual models for poetic form.
Daisy Sainsbury 