‘It has been said that playing a Fazioli is like driving a Ferrari after driving an Austin Maestro.’
Sometimes when I sit down to my morning piano practice I wonder what my neighbour makes of it. Or rather, I try not to think what my neighbour is making of it. Gillian’s kitchen is just through the wall from my piano and I know that she knows something—possibly a lot more than something—about …
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‘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.
‘Is there in fact a jostling for dominance between the art forms, some barely suppressed competitiveness?’
Adam Mars-Jones on music and ceremony.
‘gormandizing, gluttonous, lickerish, guttling’
Excerpts from Lydia Davis’s diary.
‘What happens to a dancer when they stop dancing?’
Diana Evans on dancing and writing.
‘The people I’ve photographed made Beirut liveable.’
Sama Beydoun photographs the nightlife of Beirut.
‘Ordinary sounds change their meaning in the context of war when the reverberations of sound can mean death.’
Ada Wordsworth on silence, noise and the war in Ukraine.
‘The power imbalance built into travel writing is just a heightened version of an imbalance that’s there in all writing.’
