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Rose McLaren

Rose McLaren is an artist in London.



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Talk Into My Bullet Hole

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July 2015

Rose McLaren

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July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for those people?’ ‘Oh, I don’t...

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May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

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May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

The apology had been the most charged and contested gesture between us, the common element in arguments whose subjects ranged from the trivial (courtesies, chores, choice of entertainment) to the significant (knowledge, character, politics, futures), though, as in any relationship, over time these categories of trivial and significant had become impossible to distinguish from one another, so that as a consequence we lived in a double state of nearly unbearable meaningfulness and meaninglessness – or, rather, forever suspended on the precipice of either: pre-meaningful or pre-meaningless What was unbearable, of course, was the extremity of each condition, but also the not-knowing in advance which condition would be applied (by us, naturally, but as if by some ‘outside agent’) to any given situation At times, it proved difficult to disentangle the act of, say, washing a plate to a lower-than-expected standard from the vast network of feeling and history in which all prior actions were somehow implicated On other occasions, feelings or memories which we had previously considered our ‘deepest’ or most important became somehow neutralised, or evacuated of significance, a phenomenon which we (or at least I) experienced with a weird elation I barely understood: sometimes, in the middle of what seemed to be a critical or even terminal conflict, a sudden tear or opening would materialise in the argument and through it would flood an understanding of its total inconsequence; thus we could find ourselves laughing, sometimes to the point of near-hysteria, at my total resistance to the idea of having children, or her ongoing trauma resulting from a sexual assault during adolescence, or any of the dozen or so other enduring obstacles to our happiness we thought of as ‘major issues’ Regardless of the ‘condition’ we found ourselves in, however, the apology was always a dangerous and unstable element to introduce In the former condition (of excessive meaning), its basic insufficiency or unreliability as a speech act guaranteed the irresolution, and often the escalation, of most conflicts ‘Sorry,’ I would say, not meaning it, having crunched a prawn cracker ‘too loudly’, and inevitably my non-belief in the

Contributor

August 2014

Rose McLaren

Contributor

August 2014

Rose McLaren is an artist in London.

The Prosaic Sublime of Béla Tarr

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Issue No. 6

Rose McLaren

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Issue No. 6

I have to recognise it’s cosmical; the shit is cosmical. It’s not just social, it’s not just ontological, it’s really huge. And that’s why we...
Stalker, Writer or Professor? Geoff Dyer's Zona and Genre

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February 2012

Rose McLaren

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February 2012

‘So what kind of a writer am I, reduced to writing a summary of a film?’ wonders Geoff Dyer half way through Zona. Such...

READ NEXT

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February 2014

Another Way of Thinking

Scott Esposito

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February 2014

I. There is no substitute for that moment when a book places into our mind thoughts we recognise as our...

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October 2011

The New Global Literature? Marjane Satrapi and the Depiction of Conflict in Comics

Jessica Copley

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October 2011

Over the last ten years graphic novels have undergone a transformation in the collective literary consciousness. Readers, editors and...

Prize Entry

April 2015

I Told You...

Owen Booth

Prize Entry

April 2015

1. The Triumph of Capitalism   It was the end of the cold war and capitalism had won. Everywhere...

 

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