In Alice Procter’s new book, The Whole Picture, Sumaya Kassim finds a smart, accessible and brilliantly structured work that encourages readers to go beyond the grand architecture of cultural institutions and see the problematic colonial histories behind them.
Winner of the Portico Prize 2020 for her debut novel Saltwater, writer Jessica Andrews talks to our arts contributor Rebecca Clark about her journey into writing, the joy of podcasts, the importance of space in relation to creativity, representation in the arts for working class northern writers and much more.
Author of a number of books relating to the history of sexuality, Julie Peakman’s new work, Licentious Worlds, offers a history of sexual attitudes and behaviour through five hundred years of empire building around the world. Here, she talks to our arts contributor, Miriam Al Jamil, about her book and the research behind it.
Winner of the Costa 2019 Poetry Award, Mary Jean Chan’s debut collection, Flèche, deftly explores the conflicts and desires of a queer woman, the multiplicity of identity, and the power felt when wielding a sword.
Kassem Eid’s memoir moves through life in pre-war Syria to his time as a FSA resistance fighter and beyond. Beautifully written, captivating and horrific in equal parts, My Country: A Syrian Memoir is a must read, writes Clarissa Hjalmarsson.
Melissa Edmundson’s short story collection, Women’s Weird, is full of literary greats such as Edith Wharton, May Sinclair and Edith Nesbit. Their stories are packed with ghosts, ghouls and weird occurrences, but, says Gabriela Frost, the most chilling aspect is the social treatment of women.
In her essay, Alice Hill-Woods discusses the positioning of self in the spaces and places of Ann Quin’s short story, ‘Eyes that Watch Behind the Wind’, which is part of her recently published collection, The Unmapped Country: Stories and Fragments.