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Orlando Reade

Orlando Reade is writing a Ph.D. on English poetry and cosmology in the seventeenth century. His interview with Lynette Yiadom-Boakye can be read in The White Review No. 13.



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Wildness of the Day

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December 2016

Orlando Reade

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December 2016

One day in late 2011, waiting outside Green Park station, my gaze was drawn to an unexpected sight. Earlier that year a canopy of...

Interview

Issue No. 13

Lynette Yiadom-Boakye

Orlando Reade

Interview

Issue No. 13

Modern philosophy is threatened by love, whose objects are never only objects. Philosophers have discovered in love a lived...

On the most literal level, Pier Paolo Pasolini’s elliptical, spiritual-cum-sensual movie Teorema (1968) is about an entire family being driven to distraction by their mutual desire to have sex with Terence Stamp Viewed from this angle, it is realistic enough that it might be reclassified as a documentary – theirs is, after all, an understandable insanity, shared by many moviegoers in the sixties and beyond Only 923 words end up being spoken over Teorema’s 90-minute running time, and because Terence Stamp does not, as it turns out, actually speak Italian, the 25 or so allotted to his character are dubbed That Pasolini cast him anyway is testament to both his wattage as an actor, and to Pasolini’s innate understanding of lust as a thing that is removed from language, totally unbound by reason, and as sudden and inexplicable as a miracle What Stamp possesses is an air of glamour, in the most traditional and most supernatural sense – ‘a sort of spell,’ the writer Autumn Whitefield-Madrado wrote in 2015, citing the old Scottish word glamer as its root, ‘that would affect the eyesight of those afflicted, so that objects appear different than they actually are’    The family in Teorema are both rich and unfulfilled, their lives luxurious but stultifying and empty, until one day they receive a mysterious telegram informing them that someone called ‘The Visitor’ will arrive shortly When he does, because he looks the way he does – those bright teal eyes and that absurd, almost feminine cupid’s bow, the whole face somehow simultaneously innocent and evil – it is as if some obvious force of nature, like a hurricane or a Biblical flood, has burst into their bourgeois home and swept away their inhibitions Who are they to deny beauty in all of its terrible strength, its divine power? Who could possibly resist what has been carefully designed, either by nature or by God, to be entirely irresistible? The first to fall prey to his eerie magnetism is the maid, who is so moved and so unsettled that she cries just looking at him and then rushes

Contributor

August 2014

Orlando Reade

Contributor

August 2014

Orlando Reade is writing a Ph.D. on English poetry and cosmology in the seventeenth century. His interview with Lynette...

Life outside the Manet Paradise Resort : On the paintings of Lynette Yiadom-Boakye

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November 2012

Orlando Reade

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November 2012

*   A person is represented, sitting in what appears to be the banal and conventional pose of a high street studio portrait photographer:...

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Interview

February 2014

Interview with Lisa Dwan

Rosie Clarke

Interview

February 2014

In a city where even the night sky is a dull, starless grey, immersion in absolute darkness is a...

Art

March 2011

Gabriel Orozco: Cosmic Matter and Other Leftovers

Rye Dag Holmboe

Art

March 2011

‘To live,’ writes Walter Benjamin, ‘means to leave traces’. As one might expect, Benjamin’s observation is not without a...

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Issue No. 2

The End of Francophonie: The Politics of French Literature

Lauren Elkin

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Issue No. 2

I. We were a couple of minutes late for the panel we’d hoped to attend. The doors were closed...

 

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