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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...

‘Lindsay Lohan’s new film,’ I told almost everyone I spoke to for about two months earlier this year, ‘is about werewolf detectives’ Nobody seemed too surprised, given the fact that ‘Lindsay Lohan’s new film is about werewolf detectives’ functions not unlike a millennial ‘for sale/baby shoes’ about the perils of child stardom, and nobody seemed especially enthusiastic about seeing it unless it was to rubberneck A car crash – now a common metaphor for an extremely famous woman with a death wish in both life and work –compels precisely because it provokes a feeling of alarming nearness to its heat People do not hesitate to warm their hands on Lindsay Lohan’s fire, nor do they hesitate to fan its flames by pointing to her worst mistakes For the past nine or ten years, or for about as long as I’ve been writing, Lindsay Lohan has for me been a perpetual touchstone, a fact that I once explained by citing her precocious genius, and which I am now more likely to elucidate by saying she is representative of a millennial obsession with early-life promise and adult disaster Gifted children, at least judging from media Twitter, were a dime a dozen for my generation; common, too, are grown-up, deadbeat failures, numbed by drugs and bummed-out by depression The enduring and memetic popularity of famous women on trajectories that have, at one time or another, clattered downhill at tremendous speed – particularly those who happen to be former child stars, à la Britney Spears – suggests a certain vicarious thrill at the explosive way they waste themselves   What in childhood can seem preternatural or God-given in its grace seems, in an adult with a pill addiction and more DUIs than Oscar nominations, like a sick, tremendous waste In the case of ‘a great talent with a really sexy voice’ per Robert Altman, not to mention ‘a terrific actress’ in the eyes of Meryl Streep, self-destructiveness in adulthood looks a lot like taking a lit match to the gas tank of a Porsche Lohan, with her luminous good looks, her vaguely Lolita-ish adolescent vibe,

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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feature

Issue No. 10

What Can an Art Magazine Be?

Orit Gat

feature

Issue No. 10

What can an art magazine be? Today, as the publishing industry reassesses its role in the age of the internet,...

poetry

September 2011

The Moon over Timna

Rikudah Potash

TR. Michael Casper

poetry

September 2011

In a copper house Lived the new moon, The new moon Of Timna. In a copper coat With a...

Prize Entry

April 2017

The Critic of Tombs

Ethan Davison

Prize Entry

April 2017

Emilia came to Tombs [1] in the twelfth year of the interregnum. It was the first time in history...

 

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