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Kate Zambreno
Kate Zambreno is the author most recently of Drifts (Riverhead) and To Write As If Already Dead, a study of Hervé Guibert (Columbia University Press). Forthcoming in Summer 2023 from Riverhead is The Light Room, a meditation on art and care, as well as Tone, a collaboration with Sofia Samatar, from Columbia University Press in early 2024. ‘Insekt’ is part of an in-progress work of fiction, Realisms. She is a 2021 Guggenheim Fellow.

Articles Available Online


Insekt or large verminous thing

Fiction

September 2022

Kate Zambreno

Fiction

September 2022

Around dusk one evening in March, I went out back to the small garage, and switched on my small square of artificial light at...

Feature

January 2018

Accumulations (Appendix F)

Kate Zambreno

Feature

January 2018

I’ve been keeping a mental list of all the pieces of art that I’ve nursed Leo in front of...

who bravely blasts their breath through the horn flares of gloomy streets, into dripping construction trailers, dropped by the dead, the dull anxiety of homeowners, clutching sausage and cookies under their arms   phalanges rattle over a piano smashed in the Winter Palace I am only dreaming this, only dreaming   hare krishnas shaved like newly-weds push through the cotton frost   * an oblate antifascist in the metro crush secretly broadcasts through his horn with blood   a coded sound – a French horn, in comes an orchestra of autists in magic carriages to the cackling of iron actors and the chatter of the auction   a sale on scorched backwater ontology in the slime of pudenda I am only dreaming this, only dreaming   * cloudy beer without foam, where god lives in the uncanny consciousness of poets hovering over a supper of bread alone and world news, grunting in wonder:   look it’s snowing, tucking away the ashes in ovens and vases with care   sitting turkish-style (or indian-style, as you lot say) online you broadcast something from the loudspeaker of opposition, like a lackey, with restless glances into worn lacunas,   * into the cartography of the place – right here, syria moves fast along the fingernail’s edge, turkey’s stuffing bombardments down its throat, and in its breast france’s flywheel spins, here a steel voice gnaws through the frame of leviathan, that drunk crocodile…   winter diary: I came to you to find freedom, to take you by the hand, to take in your last warmth you won’t say no to one last meeting, will you?   * Lenin flows by fast   in the statuary stillness of private meetings, private unions, Lenin’s speech hangs over this place like a butcher’s apron sanitized with bleach   pigs squealing, cutting through Nevsky Prospect dull eyes,    and a knot of new year’s snakes on a head without a face a black Škoda and half a body fallen half way out – at the breast on the Field of Mars   the butcher’s ballet and the icy swings of tear-stained acid trips, covering the eternal flame

Contributor

August 2014

Kate Zambreno

Contributor

August 2014

Kate Zambreno is the author most recently of Drifts (Riverhead) and To Write As If Already Dead, a study...

Heroines

feature

March 2013

Kate Zambreno

feature

March 2013

I am beginning to realise that taking the self out of our essays is a form of repression. Taking the self out feels like...

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Prize Entry

April 2016

Oh Whistle and

Uschi Gatward

Prize Entry

April 2016

God has very particular political opinions – John le Carré     M is whizzing round the Cheltenham Waitrose,...

feature

Issue No. 9

Leaving Theories Behind

Enrique Vila-Matas

feature

Issue No. 9

I. I went to Lyon because an organisation called Villa Fondebrider invited me to give a talk on the relationship...

feature

May 2014

How Imagination Remembers

Maria Fusco

feature

May 2014

How imagination remembers is twofold, an enfolded act of greed and ingenuity. I believe these impulses to be linked...

 

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