George Cooper: 'The retail centre cannot hold'
Once a byword for numbing homogeneity, IKEA struck me, then, as a sanctuary for the over-stretched.
Filters & Sorting
Paul Norris: 'Ashbery's Vague Renaissance'
"Writers of the English Renaissance are often ‘fine’ for Ashbery, and bring with them a vague opulence."
Lewis Barnes: 'Ryuichi Sakamoto: Conserving the Future'
“I am working on things that will only be understood by the grandchildren of the 20th century.”
Jess Payn: 'dark side of'
This piece clutches at coincidence, which lately includes the recurrence of the moon.
Will Burns: 'Complex Viewing'
In Ryūsuke Hamaguchi’s recent anthology film Wheel of Fortune and Fantasy (2021) chance continually draws attention to the understated complexity of the mundane.
Alice Brewer: 'Gerard Manley Hopkins and Prosody's Catholicism'
Attention more like the work of squinting eyes or a tensed hand, rather than the craned necks and generous ears of Wordsworth and Coleridge.
Mala Yamey: 'Mapping Diasporic Entanglements'
"For many members of the South Asian diaspora, their sense of belonging is suspended between multiple worlds. The connecting threads of the self are held in tension, and as the thin membrane of diasporic identity becomes increasingly porous, we find coping mechanisms to hold together a sense of cultural identity."
Izzy Stuart: In defence of working less on your PhD
PhD students are more at risk of burnout than ever. Let's discover the radical potential in being proud of procrastination
Morgan Jones: Reproductive dystopias and the world after Roe v. Wade
For a glimpse of what happens next, don't read Margaret Atwood—read Sally Rooney
Valeria Burmistrova: Ancient stone, new sculpture
A sculptor makes casts of the negative space created by stone quarrying on the Isle of Portland
Will Ballantyne-Reid on Derek Jarman's THE GARDEN (1990)
Jarman's film echoes and embodies the breakdown of boundaries, bodies, and identities so intrinsic to the impact of the HIV-AIDs crisis
Cora Chalaby: 'To Flood' - Lynda Benglis' Contraband.
This article considers explores the relationship between formal, material and conceptual confrontation in Lynda Benglis’ Contraband (1969).
Will Burns on Anna Mendelssohn and lyric pedagogy
Hard to instrumentalise, indeed, to justify, poetry may offer a means of speaking between disciplinary identities
Pema Monaghan: 'bathing zine'
"I liked the beach best on still summer evenings, the water barely rippling...to be held on the surface of the water, buoyed up by the salt"
Morgan Jones: 'Kind of cool, but not really' - Fascism in Succession
HBO's satire treats fascism with a knowing wink. But when you're so far in on the joke, are you really joking at all?
Connor Harrison on John Fowles’ 'The Tree'
A ‘forest’, though it can be imitated in words beautifully, is outside of language. ‘A forest,’ John Berger wrote, ‘is what exists between trees.’
Joshua Mcloughlin: Sidney's 'Stuff' - Poetry, humanism and masturbation
An indecent essay on self-love, 'stuffe,' and the raw materials of Renaissance poetry
'Conspiracy Theory': James Waddell interviews Lucy Sabin
2020 brought breath, this most inconspicuous element of our daily lives, crashing into the foreground
'Solidarity Over Sympathy': Catherine Kelly on the UCU Strike
By withdrawing support for the strike, UCL and KCL student unions have shown a troubling misunderstanding of the severity of the crisis in higher education
'Something to do with capitalism': Sally Rooney and Irish economic history
Will Fleming on the post-crash Ireland into which Rooney's protagonists are pitched
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