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Omnivore

Pictures of critique

A new issue of Parrhesia is out. Frieder Vogelmann (Bremen): Measure, Disrupt, Emancipate! Three Pictures of Critique. Jean-Francois Drolet (Queen Mary): Ennobling Humanity: Nietzsche and the Politics of Tragedy. From Metodo: International Studies in Phenomenology and Philosophy, a special issue on virtuality. Sjoerd Van Tuinen (EUR): Deleuze: Speculative and Practical Philosophy. Drew Walker (Whitman): Two Regimes of the Human: Judith Butler and the Politics of Mattering. Arne De Boever interviews


Paper Trail

The novelist James Meek has won the Orwell Prize for Private Island, a study of privatization (of the railways, the water, the electricity, social housing, healthcare) in Britain: Gillian Slovo, the chair of judges, said Meek’s book “more than passed the Orwell test of political writing as art.” And here’s this year’s list of O.

Syllabi

The Innocent/Corrupt

Adam ThirlwellA narrator is a much stranger toy at the novelist's disposal than is usually thought. It's not just something as depressingly ordinary as a character—more a vast system of smuggling. And there's one

Daily Review

Mislaid

It’s always pleasing when a strange and distinctive novelist comes outfitted with a name that she might have invented for one of her strange and distinctive characters, and still more pleasing when the actual facts of her personal history seem to have sprung directly

Interviews

Dale Peck

Dale Peck is not known for understatement. His reviews, collected under the title Hatchet Jobs, earned him a reputation as one of the most scathing critics of his generation's revered literary voices. Peck's 1993 debut novel, Martin and John, was released as Fucking Martin in the UK.

Essay

Dennis Cooper's Haunted HTML Novel

Paige K. Bradley

You could call Dennis Cooper's new HTML novel, Zac’s Haunted House, many things: net art, a glorified Tumblr, a visual novel, a mood board, or a dark night of the Internet's soul. It has just a few words—the chapter titles and a few subtitles embedded in some of the gifs—but it still very clearly belongs to Cooper’s own haunted oeuvre, capable of evoking powerful and gnarled emotions.

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