‘Projections run riot, mirrors tip and weave, there’s a blur of images like film jumping out of its sprockets.’
Documentary slag, the serial debris of his compulsive remigrations, litters his trail to the coldwater flat, crumbs for the wayward orphan. Letters, old bills, a lock of her red hair, trinkets, photos – a thousand eyes on him, all his own. His tears disturb not one pool, but an infinite regression…
Sign in to Granta.com.
‘She must have loved gold seeing that everything in the penthouse was gold. We didn’t sit. Fear didn’t let us see where to sit.’ A story by Adachioma Ezeano.
‘I had also, a week earlier, been fired for trying to sleep with my boss’s husband. I got the idea from a book, or maybe every book.’ A story by Emily Adrian.
‘The Mitsubishi conglomerate controls a forty per cent share of the world market in bluefin tuna; they are freezing and hoarding huge stocks of the fish every year.’ Katherine Rundell on extinction speculation.
‘Two roof tiles are missing to the rear: the kiss of death. Without repair, ruination is now inevitable. Until then, this is my best hope of shelter.’ Cal Flyn visits the island of Swona in northern Scotland.
‘I’m on the cliff of myself & these aren’t wings, they’re futures. / For as long as I can remember my body was a small town nightmare.’ A poem by Ocean Vuong.
‘I am not now who or what I was when I wrote this. I change as you read. I am changing now.’ New fiction from Robert Coover.
‘Flash Gordon, home from the terrible emptiness of space, has to make up stories for fear of worldwide despair.’
Robert Coover reads his short story ‘Vampire’ and discusses the quintessential English novel and the intersection between myth and the modern world.
‘His wife comes in, baring, with a wink, her incisors, and offers him a Bloody Mary.’
‘Often when I stare into the alien circuitry of a Burtynsky picture, it takes me a while to figure out what has actually been photographed.’ Anthony Doerr introduces Edward Burtynsky’s photographs.
