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Rosanna Mclaughlin
Rosanna Mclaughlin is an editor at The White Review.

Articles Available Online


The Pious and the Pommery

Essay

Issue No. 18

Rosanna Mclaughlin

Essay

Issue No. 18

I.   Where is the champagne? On second thoughts this is not entirely the right question. The champagne is in the ice trough, on...

Essay

April 2019

Ariana and the Lesbian Narcissus

Rosanna Mclaughlin

Essay

April 2019

‘Avoid me not!’ ‘Avoid me not!’                                   Narcissus   Let me describe a GIF I’ve been watching. A lot....

Que nos caravanes s’avancent Vers ce lieu marqué par le sang Une plaie au coeur de la France Y rappelle à l’indifférence Le massacre des innocents From ‘Chanson de la Caravane d’Oradour’, by Louis Aragon (12 June 1949)   I The atrocity of war committed by German forces at the French town of Oradour on the afternoon of 10 June 1944 is well documented It is not my aim here to echo such accounts by presenting a detailed investigation of the traumatic events, or to seek a way through the veritable labyrinth of national tragedy rhetoric that threatened to over-symbolise Oradour as a victim of war’s brutality, or to indulge in the prolonged mental exhaustion of attempting to ascertain the existential implications of its bitterly lingering aftermath My aim is rather to simply present my thoughts and observations on an indecently sunny afternoon when I visited the memorial ruins of Oradour some sixty-five years later But in doing so I shall be obliged to recount to some extent the terrible reality of that day   After the war President Charles de Gaulle paid a visit to Oradour and declared the ruins a permanent national monument to the suffering of civilians in war He declared that the site would be sealed off never to be rebuilt and thus remain a reminder to the excesses of totalitarian bestiality Oradour was to be frozen in time, preserved in the exact state that it was found after the perpetrators had left Nothing was to be touched or removed and the entire site, virtually unique in the western sphere of the war’s destruction, would be preserved as a nightmarish exhibit for future visitors to pass through and ponder the capacity of mankind to impose murderous destruction on complete strangers with impunity   Entering Oradour and obeying bold signs to the memorial ruins, I was surprised to find myself in a vast car park, a limitless expanse of tarmac, more suited one would think to a sports complex or shopping mall There on the sleek

Contributor

July 2016

Rosanna Mclaughlin

Contributor

July 2016

Rosanna Mclaughlin is an editor at The White Review.

Ten Years at Garage Moscow

Art Review

November 2018

Rosanna Mclaughlin

Art Review

November 2018

When I arrive in Moscow, I am picked up from the airport by Roman, a patriotic taxi driver sent to collect me courtesy of...
Becoming Alice Neel

Art

August 2017

Rosanna Mclaughlin

Art

August 2017

From the first time I saw Alice Neel’s portraits, I wanted to see the world as she did. Neel was the Matisse of the...

READ NEXT

Art

Issue No. 9

Dr Gaz

Jeff Keen

Art

Issue No. 9

Jeff Keen was among the most influential of a pioneering generation of experimental film-makers to emerge from the United...

Interview

December 2013

Interview with Tess Jaray

Lily Le Brun

Interview

December 2013

In the light-filled rooms of The Piper Gallery is a painting show that features no paint. Brought together by...

Prize Entry

April 2016

Mute Canticle

Leon Craig

Prize Entry

April 2016

Giulio the singing fascist came to pick me up from the little airport in his Jeep. He made sure...

 

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