:: Reviews archive ( click for articles pre-2006)

the parody of sovereignty published 10/04/2015

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The author of Headless is largely irrelevant; it is the obvious attempt to conceal her identity which corresponds to, and highlights, the book’s focus on secrecy and surveillance: the fact she is hiding is more important than who she is. Riddled with aliases, meta-fictions, and delusions, Headless struggles to keep itself from caving in on its self-devised rabbit warren of half-truths.

Rosie Clarke on K.D.‘s Headless.

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The Dissociated Man published 03/04/2015

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In The Dark Net, his exploration of the internet’s nastier places, Jamie Bartlett argues that the proliferation of multiple online worlds presents a paradox. At your keyboard there’s a multiverse of opinion and perspective. But it also gives us the opportunity to bury ourselves in a feedback loop. If you have a certain view of the world, there’s numerous fora just for people who think the exact same way: you can chat on Facebook groups and messageboards, read great tracts of articles and essays, and still never be exposed to anyone who disagrees with you, or can challenge your beliefs. ‘Creating our own realities is nothing new,’ Bartlett writes, ‘but now it’s easier than ever to become trapped in echo chambers of our own making.’

Max Dunbar reviews Åsne Seierstad‘s biography of Anders Breivik.

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Alan Moore’s Nemo: River of Ghosts published 01/04/2015

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The Nemo trilogy works like a fast meditation on Kubla Khan’s paradise, a classic hell of first ice and then fire. The infernal translation from the Antarctic’s ‘sunless sea’ turned to ‘ a hot and copper sky’ is caught in the arc of an Ancient Mariner’s tale, the sun a hellish moon like the alien eye of an alligator, ‘small and sunk’ which ends in the slithering horrors of ‘Christabel.’ What Nemo is charting is a journey where the awesome fountain of the centuries erupts and there’s a demon lover wailing something dreadful under a waning moonshine. She’s gone to a sacred universe where all the women are lunar women. It’s a reaffirmation of what happened a long time ago in a dreamtime.

Richard Marshall reviews Moore and O’Neill’s Nemo: River of Ghosts.

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Luxury Complex: Remembering Satan published 30/03/2015

Luxury Complex Cover Art

Writing is a solitary, sometimes lonely business. It does eventually become a collaborative process of sorts, but only at the bitter end, working through final drafts with editors and quibbling over fonts with cover designers. Last Friday was a very different experience for me. It was fun even. For a short while I became involved with a gang of artists.

Simon Crump on Luxury Complex: Remembering Satan.

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Surrogate Transcendence: Terry Eagleton’s Culture and the Death of God published 24/03/2015

Culture and the Death of God

The enormous difficulty of locating a surrogate commensurate with the social, moral and political power of a departed Almighty is the provenance of Terry Eagleton’s bracing intellectual history Culture and the Death of God. Its central argument – that genuine atheism is both difficult and rare – seems at first blush a bit of wishful apologism, the death rattle of a proud but exhausted cultural model. After all, the diminishment of the sacred is no longer merely the overbold conjecture of an intellectual fringe element. And yet, by way of an ironically Darwinian feat of cultural adaptation, He remains alive and well – if, admittedly, much transformed.

Dustin Illingworth reviews Terry Eagleton‘s Culture and the Death of God.

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defamiliarising reality published 16/03/2015

The reader is forced to focus on Indigo as a fiction and as a fabrication – but the effect, perversely, is not to call into doubt the fiction, but rather to call into doubt reality, or, more precisely, the ability to distinguish between what is real and what is fictional. Indigo suggests that it is possible for the Borgesian map of the empire to be so perfect that it covers the whole of the empire, but it goes further.

Timothy Kennett reviews Clemens J. Setz‘s Indigo.

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Retracing the Expanded Field published 14/03/2015

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This volume ‘… revisits a moment in which architecture functioned as a model for the visual arts not because of its monumental or institutional character but as a resource for a series of epistemological and compositional strategies tested in spatial and urban domains – and when the visual arts, in turn, proposed an alternative pattern for architecture that undermined the conventional iconicity and monumentality of buildings…’

Richard Marshall reviews Retracing the Expanded Field.

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Beyond the visible plane published 24/02/2015

Max Blecher - Adventures

Blecher’s book is being compared to those of Kafka and Bruno Schulz, authors whose work is similarly attended by a kind of extratextual loss and impossibility — which would be an unfair comparison if Blecher did not so clearly share their preoccupation with the limits of substance, and even more, their skillfulness in rendering the uncanny into prose.

Colin Torre on Adventures in Immediate Irreality by Max Blecher.

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Life-like published 22/02/2015

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This is tough knotted, hard-hearted artifice. Its audacious operation is a newly articulated subordination of erotic laceration. Here ecstatic torments are managed as metrosexual assimilation and sublimation. The novel is a jigsaw that requires a reader to wonder whether multiplication of perspectives fragments and dismantles or accumulates and deepens. The surface narrative is smooth and quick, hardly stirring the air. That’s not where the intensity lies. The wild apollonian tautness is in the architecture, is caught in the style and the structure which butchers the joints of the book’s universe. The surface remains perfectly self-controlled and attentive, a state of pale distraction that Benjamin defined as perfected modernism.

Richard Marshall reviews Toby Litt’s Life-Like.

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history turned upside down published 19/02/2015

We are given very little idea at first of what is really going on in these stories, and where, when, and why. But then you remember Rachel Kushner’s novels, and begin to suspect that most of these histories have been made up. In the first story, ‘The Great Exception’, there is an Admiral, a Queen, and a Greek Cartographer: I feel like I know them; do I know them? Or should we take Nabokov as our guide, when he tells us: ‘Fiction is fiction. To call a story a true story is an insult to both art and truth’? I think that approach is wiser.

Julian Hanna on Rachel Kushner‘s The Strange Case of Rachel K.

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