The Wake—Paul Kingsnorth’s 2014 debut novel, which chronicles the life of an Anglo-Saxon during the Norman Conquest—has since gained a disturbing resonance with the recent surge and codification of nationalism that is Brexit.
“I’m glad that the work is still proving elusive enough to resist attempts to gather it all up in a critical hamper or net.”
“Dub was my sound because of postcolonial movements. I grew up in it. I bathed in it. I breathed it. So why shouldn’t it be mine?”
Restoring, archiving, and exhibiting artists‘ films from the post-punk era.
As novelist and bus driver, Mills discusses The Maintenance of Headway, vinyl puritans, and the history of England.
On being nothing, looking outward, and the obstinant relevance of that popular art form, song.
In part two of a two part interview, Howard Altmann talks to poet D. Nurkse about his ruthless youth, the astonishing nature of snails, and teaching at Riker’s Island.
In part one of a two part interview, Howard Altmann talks to poet D. Nurkse about growing up in Brooklyn, Oedipal fantasies, and working in a factory.
B.C. Edwards reviews Max Schaefer’s Children of the Sun which is absolutely not a book about gay British neo-Nazis
“One of the things about the theater, and fiction, is that you can play. You can actually investigate situations that don’t exist.”
On the crest of the new British invasion, Sam Taylor-Wood’s surprising photographs and films catch their subjects in isolated moments, dramas, arguments. Her work is reminiscent of early Warhol, with an operatic style all her own.
A storytelling bowl with the selective ability to change size and shape, to grow eight feet high, to repair itself when shattered, to save its unlucky possessor from harm’s way.
A friend of mine once conjectured, What if the ’60s weren’t an era, but a place one could still visit?
Written in the voices of the residents of Bermondsey, Graham Swift’s Last Orders (Knopf) captures the language of this working class neighborhood on the outskirts of London, just as Carver caught his characters’ mute eloquence, and Faulkner found his locals’ wise, wry humor.
Filmmaker and BOMB contributing editor Bette Gordon speaks to acclaimed director Mike Leigh upon the release of his award-winning 1993 film, Naked.
I love the shiny, pristine teeth that most Americans keep behind their lips, pearly immaculate rows of ivory, often capped in precious metals, brilliant they seem and impervious to decay, and their children’s teeth, wrapped in steel for years so they too, will grow in straight and flawless.
Self-proclaimed “martyr to fiction” Peter Ackroyd gushes about his terminal Anglophilia.
Waterland, first published In England in 1983, established Graham Swift as one of the more original, elegant, and imaginatively fertile of the younger English writers. Patrick McGrath talks to him about his work in a cold house off the Fulham Road.
Janet Hobhouse discusses her various books with Bruce Wolmer — November, Dancing in the Dark and Everybody Who Was Anybody: A Biography of Gertrude Stein—and the differences between “American” and “English” writing.
Waterland, first published In England in 1983, established Graham Swift as one of the more original, elegant, and imaginatively fertile of the younger English writers. Patrick McGrath talks to him about his work in a cold house off the Fulham Road