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Scott Esposito

Scott Esposito is the co-author of The End of Oulipo? (with Lauren Elkin; Zero Books, 2013). His writing has appeared recently in Music & Literature, Drunken Boat, and The Point. His criticism appears frequently in the Times Literary Supplement, the San Francisco Chronicle, and The Washington Post.



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The Last Redoubt

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November 2014

Scott Esposito

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November 2014

As they say of politics, I have found essay-writing to be the art of the possible. Certain work can only be done in those...

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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...

On the cover of the 1985 Pelican edition of D W Winnicott’s 1971 book, Playing and Reality, there is a picture, by Lawrence Mynott, of a teddy bear with a missing plastic eye Winnicott is famous, of course, for talking about teddy bears He writes: ‘the object is affectionately cuddled as well as excitedly loved and mutilated’ One must, he notes, ‘recognise the central position of Winnie-the-Pooh’ in the life of the child Teddy bears without eyes and Winnie-the-Pooh-type creatures turn up quite a bit in Hannah Black’s Some Context (2017) There are seven Transitional Objects scattered about the gallery space These visionless fabric animals, some bears, some dog-like, one elephant-like (the latter hung up on some metal hooks), are filled with shredded copies of a text called The Situation, 20,000 copies of which (bar those that have been taken and/or shredded) form a strange temple-like monument in the middle of the room, guarded by an animal with long silky hair that looks like someone’s idea of an Afghan hound if they had never seen one   The floor, entitled Carpet, is covered with already-shredded pages from the book, and in odd clearings, there are Creatures made of modeling clay – some are faces, some are eyes, perhaps the missing eyes of the toys – and others are figurines, clutching at the side of the fabric animals One is just a smear, though perhaps it has been stepped on, as differentiating the curious crunch of shredded paper from the partly hidden modelled objects makes wandering around the show rather delicate In three sites, menacing paper shredders, switched on and full of eaten paper, add an air of dangerous possibility – should I shred the book? Is that what the machines want? Is that what the artist wants? On the back of the book two small diagrams show a bear-like creature throwing the book up into the air as it appears to explode, and another shows the bear walking off with the book under its arm I followed the second bear   All this anxiety, uncertainty and possibility is perhaps part of the point – after all,

Contributor

August 2014

Scott Esposito

Contributor

August 2014

Scott Esposito is the co-author of The End of Oulipo? (with Lauren Elkin; Zero Books, 2013). His writing has...

Negation: A Response to Lars Iyer's 'Nude in Your Hot Tub'

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September 2012

Scott Esposito

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September 2012

I do not know whether I have anything to say, I know that I am saying nothing; I do not know if what I...
Art's Fading Sway: Russian Ark by Aleksandr Sokurov

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May 2012

Scott Esposito

Art

May 2012

I have often fallen asleep in small theatres. It is an embarrassing thing to have happen during one-man shows, and I am certain that...

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poetry

August 2017

From The Dolphin House

Richard O’Brien

poetry

August 2017

Note for the following three poems: In 1965, a bottlenose dolphin christened Peter was the subject of a scientific...

fiction

January 2013

Animalinside

László Krasznahorkai

Max Neumann

TR. Ottilie Mulzet

fiction

January 2013

IV     Every space is too tight for me. I move around, I jump, I fling myself and...

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February 2015

A Closer Joan

Shawn Wen

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February 2015

Here are a few of the Joans I know. The girl who arrives at Port Authority Bus Terminal in...

 

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