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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...

Chris Power’s first collection of short stories, Mothers, is peopled by the restless – forever walking, running, travelling, holidaying, city-hopping, doing anything not to stand still They are displaced, impulsive, sometimes desperate The narrator of one story summarises it as ‘the lightness of being far from home, the pleasure and terror of being free to do as I liked’ It carries the logic, though decidedly not the tone, of picaresque: travellers, like orphans, are liberated to situate themselves from scratch, living without ready-made definitions   This is certainly true of the three linked ‘Mother’ stories that structure the collection, which concern Eva: first remembering her childhood in Sweden; then travelling along the Costa Blanca; finally married with a daughter of her own She leads an unhappy life in the shadow of her parents’ death, and travel becomes a way of outrunning her problems, though even here she is following her own mother around Europe, carrying around her guidebook and allowing it to fall open at spine-cracked pages, as if consulting the mother’s spirit ‘It seemed to help if I kept moving,’ she confesses finally ‘Whenever I stopped moving everything became… too much’   Young Eva, in ‘Summer 1976’, reads food into everything: stacks of LPs are liquorice, the air stands thick as jam or greasy with a coming storm On a dare, the boy who lives next door throws an apple into one of the windows of their apartment block, where it bursts against the wall (But does she have to be Eva, and does it have to be an apple, so that the story drags around with it the creaking weight of the Biblical malum malum?) Later, after her mother’s death, her taste for life seems to dull She inherits her mother’s mute desperation; boys are now men, but they embody the same tension between threat and attraction Later still, tethered to a marriage and a daughter of her own, she loses all energy: stuck in one place, with no water running over her gills, she is reduced, depressed and couch bound   Listless and withholding, Eva is an unusual character to give the

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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fiction

November 2012

Religion and the Movies

Aidan Cottrell Boyce

fiction

November 2012

When the Roman Empire ruled the world, you could make it work for you. The women, the hospitality. You...

Art

Issue No. 5

A New Idea of Art: Christoph Schlingensief and the Opera Village Africa

Sarah Hegenbart

Art

Issue No. 5

I think the Opera Village. . . will lead to a new idea of art, and what will emerge...

Art

March 2011

Trafalgar Square Street Protests

Cosmo Hildyard

Joseph de Lacey

Art

March 2011

The following photographs were taken during the third day of student protests in London on 1 December 2010, a...

 

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