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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...

‘Make Margaret Atwood fiction again!’ Despite encountering them repeatedly over the past few years, I still cannot entirely believe the sheer number of op-eds declaring that ‘we’ — a slippage which often seems really to mean ‘women in Saudi Arabia’ — are ‘living in The Handmaid’s Tale’ ‘How far are we from Gilead?’ ‘Could The Handmaid’s Tale happen today?’ asks the typical journalist, before providing the ‘chilling’ answer upfront, usually in the very headline: ‘For some women, it’s already reality’ It’s like a tic, or an exercise in wish-fulfilment   The Handmaid’s Tale is certainly the world’s best-known sterility apocalypse It is also one of the most successful novels of the last century, and now, together with its sequel The Testaments, of this century When in October The Testaments was jointly awarded the 2019 Booker Prize with Bernadine Evaristo’s Girl, Woman, Other, a gracious Atwood told Evaristo that ‘It would have been quite embarrassing for me… if I had been alone here, so I’m very pleased that you’re here too’ In fact, in light of the appropriative relation of Atwood’s novels to North American black women and their history, she has every reason to be embarrassed    At this stage, The Handmaid’s Tale franchise is fully a fandom Celebrities throw Handmaid parties; people hold their themed weddings in front of a set made to resemble the Gileadean ‘Wall’ that gender-traitors get hanged on; liberal-feminist websites delightedly issue po-faced injunctions to the world at large not to do any of this, and especially not — think of the handmaids you’re offending — to dress up as a ‘Sexy Handmaid’ at Halloween   A personal encounter with Atwood’s breeder-dystopia is also currently the mainstream trope of political coming-to-consciousness testimonies in the era of Trump and #MeToo For some reason, it is taken as given not only that the text is ‘feminist’, but that it is archetypally so Despite its author’s (and the cast of the Hulu Handmaid’s Tale’s) repeated disavowals of feminist intent, the text’s synonymity with

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

Art

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...

READ NEXT

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Issue No. 6

The Prosaic Sublime of Béla Tarr

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...

poetry

September 2012

Crossing Over

Eleanor Rees

poetry

September 2012

As he sails the coracle of willow and skins his bird eyes mirror the moon behind cloud. Spring tide...

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May 2013

Haneke's Lessons

Ricky D'Ambrose

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May 2013

‘Art is there to have a stimulating effect, if it earns its name. You have to be honest, that’s...

 

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