‘I was told very early on by people in publishing that there is no market for literary criticism – none.’
Marina Scholtz speaks to Orlando Reade.
Essay | Evading Capture: On Writing Two Experimental Memoirs by Jen Calleja
‘There can be many different ‘correct’ translations of the same text: I think that we each have not only multiple stories we can tell about our lives, but many forms for them, too.’
Jen Calleja on writing experimental memoir.
Poetry | Two Poems by Miruna Fulgeanu
‘Yes I understand the world; it doesn’t mean I want / to do it. It’s hard!’
Two poems by Miruna Fulgeanu.
Fiction | Reasons for Not Speaking by Amaan Hyder
‘But these are not just white people, these are queer people. And what is that supposed to mean? Is queer some reliable thing?’
Short fiction by Amaan Hyder, winner of The London Magazine Short Story Prize 2024.
Essay | Syzygy, or, How to Talk to Your Dog… by Joey Connolly
‘The sheer volume of material we encounter renders our engagement with any part of it increasingly difficult.’
Joey Connolly on information overload and syzygy.
Interview | Eliza Clark: Seven Questions
‘There’s a great deal of horror to be found when desire is misaimed or curdles – our desires are often an expression of the systems of power we exist in.’
Eliza Clark interviewed by Zadie Loft.
Fiction | Un by Louie Conway
‘The baby has come to understand the world as reducible into categories, an indefinitely vast space populated by discrete objects with dedicated names and stable locations.’
Runner-up in the Brick Lane Bookshop Short Story Prize 2024: Louie Conway’s ‘Un’.
Interview | Farkhondeh Ahmadzadeh on Manuscripts and Miniatures
‘In this complex world where human kind is divided into tiny sections, I hope we all can find the unity we are meant to have.’
Eric Block interviews artist Farkhondeh Ahmadzadeh and curator Esen Kaya.
Essay | Dear Chris Kraus & Ovid & Saul Bellow… by Tommy Gilhooly
‘If autofiction is the fictionalisation of autobiographical facts, the epistolary novel is the factualisation of the fictitious.’
Tommy Gilhooly on the epistolary novel and ‘I Love Dick’.
Review | I for I: Occupations that Blind by Zoe Valery
‘The writing of Pleasure Gardens – and its reading – constitutes an act of resistance; a reclaiming of the digital narrative space that has been blacked out by the state and overwritten by its propaganda machine.’
Zoe Valery reviews ‘Pleasure Gardens’.
Review | His Words Among Mankind by Suzi Feay
‘Part of the editors’ mission can be crudely stated as pitching a ‘woke Shelley’, a poet who destabilised gender norms and somehow anticipated the concept of non-binary.’
Suzi Feay reviews ‘Percy Shelley for Our Times’
Review | Surveillance in Miniature by Hannah Hutchings-Georgiou
‘Fatima subtly observes that domesticity – the unit of the family, the capitalist-defined utopia of social togetherness, of selfhood and nationhood itself – always depends on the poor who stand outside of it.’
Hannah Hutchings-Georgiou reviews ‘Is Someone There?’.
Review | Mummy Issues by Katie Tobin
‘Minor gripes aside, Mother State is an impressive paean to the expansive possibility of motherhood, of new ways of being and living.’
Katie Tobin reviews Helen Charman’s Mother State.
Interview | Purgatory by the Sea: Jon Fosse in Conversation
‘To me, writing is best described as listening. And at a certain point it is as if the text is already written: it exists out there somewhere, and I just have to write it down before it disappears.’
Zadie Loft interviews Jon Fosse.
Interview | Laughter and Tears: Alejandro Zambra in Conversation
‘Saying that fiction is untrue, that it is something of a lie, is as imprecise as saying that a song is a lie, that a joke is a lie, that a painting is a lie.’
An interview with Alejandro Zambra by Magnus Rena.
Fiction | Woof-Woof-Woof-Woof-Woof by Phoebe Hurst
‘When The Reverend was preaching, I had to dare myself to look at him. But then it would happen and it was never as bad as I feared. ‘
New short fiction by Phoebe Hurst.
Review | Poor Art, Rich Rewards by Daisy Sainsbury
‘Arte povera and its afterlife strike me as exemplary of the fate of counter-current movements that so quickly lose their revolutionary value and are subsumed into the institutions they originally set out to critique.’
Daisy Sainsbury reviews ‘Arte Povera’.
Essay | Looking and Looking Away at the Same Time by Adam Heardman
‘There’s an assurance that we are kin, and that out of such historically violent incomprehensibility, a total and coherent world can emerge.’
Adam Heardman on Auerbach and the history of violence.
Fiction | Submechanophobia by Charlotte Tierney
‘Bill had never worried about how others received him, or his behaviour. He prioritised, instead, being as much himself as possible, for the sake of his art.’
New fiction by Charlotte Tierney.
Interview | The Garden as Political Metaphor with Olivia Laing and Richard Porter
‘The garden is a space to think differently, to understand time differently and to understand how to cope with abundance, followed by loss, followed by abundance, followed by loss. It’s an anti-capitalist clock.’
Olivia Laing and Richard Porter in conversation with Zadie Loft.
Interview | ‘Freedom in Multitudes’: Explorations of the Self with Sosa Omorogbe
‘The fragmented self is the self. That feeling of not being one thing but multiple threads intertwined into one physical, corporeal form, that is what it feels like to be human. I don’t think traditional portraiture where the figure is posed and sat always captures that.’
Zadie Loft speaks to gallerist and curator, Sosa Omorogbe.
Interview | Selva Almada: Seven Questions
‘I’m certainly curious about the world of men, in how they act and why. Through my fiction and my imagination, I can find the nuance, the gaps and the hollows, the contradictions.’
Selva Almada in conversation with Konrad Muller (tr. James Appleby).
Interview | Offer Waterman and Francis Outred on Auerbach’s London
‘In a world where a lot of contemporary art is consumed at the point of making and many artists are very young, we have an artist who is still with us – at 93 years old – with seven decades behind him, still drawing.’
Offer Waterman and Francis Outred discuss Frank Auerbach’s landscapes of London.
Fiction | Harbour Colours by Eloise Vaughan Williams
‘Blue thinks Red might be a person who dislikes even the bones of himself. That he also worries he might be missing something, or rather hopes he is, instead of believing he has broken it. Blue thinks they might be alike in that.’
New fiction by Eloise Vaughan Williams.