‘What is a feminist, anyway? What does it mean, to call yourself one?’
Kris Hofman responds to Rachel Cusk’s essay ‘Aftermath’ in Granta 115: The F Word.
‘What is a feminist, anyway? What does it mean, to call yourself one?’
Kris Hofman responds to Rachel Cusk’s essay ‘Aftermath’ in Granta 115: The F Word.
‘We meet at various points in the great swathes of the past that neither of us were alive to witness.’
Allen Bratton on a daytrip to a castle with his older boyfriend.
‘Listening to three white poets, whom I suspect are academics, talk about the state of poetry.’
Oluwaseun Olayiwola eavesdrops on an older generation.
‘I’d been dubious about his company at first.’
Sarah Moss on watching Shakespeare with her twelve-year-old son.
‘She didn’t trust us because, to her, tenants were like children.’
Kate Zambreno on negotiating with her older landlady.
‘A moment now swallowed in embarrassment, I asked a question only a young person might ask an older one.’
Lynne Tillman on trying to understand what makes a generation.
Kris Hofmann is an Austrian filmmaker and animator based in London.
More about the author →
‘The eye wants to see its fill, the I wants to see how it feels.’
Saskia Vogel on the foundational stories of pornography.
‘The only thing that was clear was that the square would be full, and Opantish had to be ready.’
An excerpt from Yasmin El-Rifae’s account of the Egyptian revolution and its aftermath, Radius.
‘By the time I was in my teens, I had taken up an existence framed by a double negative: not male, not white.’
An excerpt from Tsitsi Dangarembga’s essay collection, Black and Female.
‘It is easy, when we are young, to have ideals and to live according to them.’
An excerpt from Guadalupe Nettel’s Still Born.
‘Trouble was awake – we didn’t need anyone to tell us.’
New fiction by Adachioma Ezeano.
‘It was a red-light district and a plywood market and a town of hoodlums in one. I’ll add one more thing: The whole place stunk of sewage.’
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