‘What year was it? We have chosen to believe it was 1811’.
What year was it? We have chosen to believe it was 1811. Therefore: in the autumn of 1811, Alexandre Hemon got up from his slothful bed in Quimper, Brittany; sold, unbeknownst to his widowed mother, their only horse–a perennially exhausted nag–for thirty silver coins; and joined, after some adve…
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‘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.
‘Do writers of fiction have to create a cosmology in order to exist?’
‘I came to this fine country from Sarajevo, Bosnia-Herzegovina, in the winter of 1992, a couple of months before the war started.’
Aleksandar Hemon and Stuart Dybek on the energy and inspiration of Chicago, its exhilirating ‘incompleteness’, and the ‘unique perspectives of seeing the city’.
‘My grandmother was not my grandmother.’
Granta’s poetry editor Rachael Allen talks to Maureen N. McLane about ecology, lyric authority, and balancing poetry with criticism.
