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In Patty Yumi Cottrell’s novel Sorry to Disrupt the Peace, the narrator Helen Moran investigates her adopted brother’s suicide, an effort complicated by Helen’s own profound alienation. Relentlessly interior, discursive and associative, the novel reads as the direct outcome of Helen’s grief, an inner crisis she attempts to control with obsessive tactics that give the novel its form.
In 1941, in Paris’s Prison de la Santé, Jean Genet was given three days’ solitary confinement for writing. On sheets of paper he’d been given to make into bags, Genet had begun his first novel: Our Lady of the Flowers.
In Martin John, Anakana Schofield presents us with a sexual deviant hiding out in London having fled the West of Ireland. Where does this novel sit in relation to such works as Nabokov’s Lolita and A.M. Homes’ The End of Alice, and what role do such works serve?
How does McBride employ and expand modernism? Is it her rendering of fragmented, burgeoning female subjectivities that defines her? Or is it her continuing to push form at the level of the sentence?
With several unforeseen upheavals in global politics over the last year, John Berger’s approach to art and literature as implicitly political seems more relevant than ever. Throughout his extensive oeuvre, Berger posited aesthetics as a radical vehicle for social change, and embraced the role of storytelling and criticism, of poetry and the visual arts.
Bhanu Kapil is a British-Indian writer concerned with migration, transformation, loss, and the hybrid text. In her slim, subversive books she considers bodies “at the limit of their particular life,” and the embodied prose she fashions to depict them are strange, broken, and revelatory.
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