Ayşegül Savas’s 2021 novel is less an act of purification than a challenge to the reader to accept art on its own terms as an achievement of presence. It frames each reading, each act of looking, as an act of faith.
By taking the imperialist Cecil John Rhodes and his readers through a history of Africa and its diaspora, Adekeye Adebajo interrogates Eurocentric history and what it chooses to suppress.
Gisèle Freund’s portraits, shown at the Maison des amis des livres in 1939, of several avant-garde writers and artists, are a collective portrait of a community, rather than a series of individuals. This group of intellectuals, however, would be scattered by the invasion of Paris by the Nazis one year later.
“I recalled Jorge Luis Borges’s ‘Tlön, Uqbar, Orbis Tertius’ when trying to make sense of my daughter’s intellectual disability as defined by the Diagnostic and Statistical Manual of Mental Disorders. Like Orbis Tertius, the DSM seemed to me like a product of a secret society gradually working to shape a reality of their own.”
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