Art Monsters: Unruly Bodies in Feminist Art
**Publishing in the UK on 20 July 2023 and the US 14 November 2023**
For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it? Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body, calling attention to a radical heritage of feminist work that not only reacts against patriarchy but redefines its own aesthetic aims.
Writing in the tradition of Susan Sontag, Hélène Cixous and Maggie Nelson, Lauren Elkin demonstrates her power as a cultural critic, weaving daring links between disparate artists and writers - from Julia Margaret Cameron's photography to Kara Walker's silhouettes, Vanessa Bell's portraits to Eva Hesse's rope sculptures, Carolee Schneemann's body art to Theresa Hak Kyung Cha's trilingual masterpiece DICTEE - and shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political.
No. 91/92: diary of a year on the bus
Your telephone is precious. It may be envied. We recommend vigilance when using it in public.
--Paris bus public notice
In fall 2014 Lauren Elkin began keeping a diary of her bus commutes in the Notes app on her iPhone 5c, writing down the interesting things and people she saw in a Perecquian homage to Bus Lines 91 and 92, which she took from her apartment in the 5th Arrondissement to her teaching job in the 7th.
Reading the notice, she decided to be vigilant when using her phone: she would carry out a public transport vigil, using it to take in the world around her and notice all the things she would miss if she continued using it the way she had been, the way everyone does.
During the course of that academic year, the Charlie Hebdo attacks occurred and Elkin had an ectopic pregnancy, requiring emergency surgery. At that point, her diary of dailiness became a study of the counterpoint between the everyday and the Event, mediated through early twenty-first century technology, and observed from the height of a bus seat. No. 91/92 is a love letter to Paris, and a meditation on how it has changed in the two decades the author has lived there, evolving from the twentieth century into the twenty-first, from analog to digital.
UK: Chatto & Windus
Germany: btb Verlag
Flâneuse: Women Walk the City
FINALIST FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY
A New York Times Notable Book of 2017
A Radio 4 Book of the Week
Flâneuse [flanne-euhze], noun, from the French. Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities.
That is an imaginary definition.'
If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse?
In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.
From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.
Called "deliciously spiky and seditious" by The Guardian, Flâneuse will inspire you to light out for the great cities yourself.
UK: Zer0 Books
The End of Oulipo? An Attempt to Exhaust a Movement
As this experiment in literary patterns enters its sixth decade, its members, fans and critics are wondering: where can it go from here?The Oulipo, founded in 1960s, is a group of writers and mathematicians which seeks to create literature using constrained experimental writing techniques such as palindromes, lipograms and snowballs. A lipogram is writing that excludes one or more letters. A snowball is a poem in which each line is a single word, and each successive word is one letter longer. The Oulipo group celebrated its fiftieth birthday in 2010, and as it enters its sixth decade, its members, fans and critics are all wondering: where can it go from here? In two long essays Veronica Esposito and Lauren Elkin consider Oulipo's strengths, weaknesses, and impact on today's experimental literature.