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Tausif Noor
Tausif Noor is a critic and doctoral student at the University of California Berkeley, where he studies modern and contemporary art history. His writing on art, literature, and visual culture appears in Artforum, frieze, The Nation, The New York Times and other venues, as well as in artist catalogues and various edited volumes.

Articles Available Online


Devil in the Detail: on Leesa Gazi’s ‘Hellfire’

Book Review

July 2021

Tausif Noor

Book Review

July 2021

British-Bangladeshi novelist Tahmima Anam’s debut A Golden Age (2007) tracks the early stirrings of revolution in East Bengal from the 1950s to the climax...

Art Review

May 2019

Simone Fattal, Works and Days

Tausif Noor

Art Review

May 2019

For the last five decades, Simone Fattal has produced works that refract the particularities of the present vis-à-vis a...

Hoda Barakat’s The Kingdom of this Earth turns to the history of Lebanese Maronite Christians, from the Mandate period to shortly before the outbreak of the Lebanese Civil War in the mid-1970s This scene, occurring very early in the novel, precedes a tragedy that will mark the family at the centre of the story, whose history of village pre-eminence puts them at the centre of local rivalries around class, land ownership, water rights, and gender politics The ancestral past remains part of the present, as the children of Muzawwaq struggle to make their future in a society of close ties and deep rifts   — M B         A shower of wet snow The snowflakes were beginning to stick, forming white patches that spread and thickened across the terrain The horizon line between the greyness of the skies and the white ground was blurred now   The bitter edge of the blustery cold softened as the fog dropped over the land, thick as a felt saddle blanket The mountain paths and ravines were no longer distinguishable, making it impossible to guess how much distance remained ahead Features of the landscape known popularly as the Frenchmen’s Chamber, Deaf-mute’s Crevice, St Severin’s Elbow, the Cross of the Sacred Heart, had all vanished After Patriarch’s Point the entire expanse of these heights was submerged in the sour gummy milk Overhead, winds whirling and pounding as though powerful water currents were ravining the skies changed course suddenly, a fierce onrush whipping across the ground to prevent him moving forward   He got off his horse He pulled the saddlebags of lentils off the horse’s back and tossed them to the ground but he kept the sacks of wheat and hay where they were He opened the blade of his penknife and slashed open a sack of hay, bringing it up to the horse’s head But his beloved horse didn’t plunge her snout into the sack She would not eat Mubaraka, eat! For the love of the Virgin, eat – it will give your legs more strength We don’t have a choice, Mubaraka We have to go on   The horse stared

Contributor

March 2018

Tausif Noor

Contributor

March 2018

Tausif Noor is a critic and doctoral student at the University of California Berkeley, where he studies modern and contemporary art...

INTERVIEW WITH ANAND PATWARDHAN

Art Review

July 2018

Tausif Noor

Art Review

July 2018

By the late 1990s a right wing government in the shape of a BJP-Shiv Sena alliance had come to power for the first time...
Danh Vo, Take My Breath Away

Art Review

April 2018

Tausif Noor

Art Review

April 2018

‘When you love, you are nailed to the cross,’ says a character in Rainer Fassbinder’s film In a Year of 13 Moons (1978). In...

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fiction

March 2017

Slogans

Maria Sudayeva

TR. Antoine Volodine

TR. Jeffrey Zuckerman

fiction

March 2017

A Few Words on Maria Sudayeva   Slogans is a strange, extraordinary book: it describes a universe of total...

fiction

February 2013

The Currency of Paper

Alex Kovacs

fiction

February 2013

‘Labour is external to the worker, i.e. it does not belong to his essential being; that in his work,...

feature

July 2011

Editorial: a thousand witnesses are better than conscience

The Editors

feature

July 2011

The closure of any newspaper is a cause for sadness in any country that prides itself, as Britain does,...

 

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