‘It wasn't his first radio interview—he'd done a few in New York the previous year—but certainly among his earliest.’
Nineteen forty-five, early autumn. A month before, the Second World War had ended in Japan with a flash and a bang. Four Sundays later, I began as host of a one-hour weekly radio programme of recorded music called The Wax Museum. The phrase disc jockey had not yet entered our working vocabulary. In …
Sign in to Granta.com.
‘The anglophone world, we have to infer, has run out of words for its own feelings.’
Daisy Hildyard on the wisdom of scarecrows.
‘What is the read receipt for?’
Lillian Fishman on texting, power and the ethics of leaving a friend on read.
‘Like pretty much everyone who uses the internet, I have seen many terrible things that I did not search for and that I cannot unsee.’
Rosanna McLaughlin on what the internet thinks she wants.
‘I have a pathological addiction to the internet, which I indulge with the excuse of making art. It rarely translates to anything good and mostly leaves me overstimulated and afraid.’
Paul Dalla Rosa on excess and the internet.
‘rumors of bees on speedwell, / no oxidative stress just / effortless pollination’
Two poems by Sylvia Legris.
Americans, speaking of foreign lands, often say, 'It's a nice place to visit, but I wouldn't want to live there.'
‘It seemed perfectly normal for middle-class writers to tell the stories of the underclass. But the presumed creator of literature has been changing.’
Granta interviews Wu Qi.
‘How would I feel if I had messaged for years with someone that I later found out was an AI?’
Brea Souders speaks to Alice Zoo about chatbots, interconnection and the dialogue between photography and text in her work.
‘You are what you do, and you are what you write, to some extent, I believe that at least.’
Lauren Oyler on personality, intention and the collapse between private and authorial selves.
‘It’s perhaps hard to imagine a country with abundant mineral or oil reserves simply leaving that wealth underground. But there are precedents here, historical and contemporary.’
Granta interviews Thea Riofrancos.
‘Despite my efforts at denial the new reality of our lives was beginning to sink in.’
