Raymond Depardon, the son of a peasant, has become one of France’s most distinguished photojournalists.
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‘On days when the light is beautiful, when the sun is red above the Saône, I find myself regretting not having come more often when my parents were working the farm.’
Raymond Depardon, the son of a peasant, has become one of France’s most distinguished photojournalists.
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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.
Raymond Depardon, the son of a peasant, has become one of France’s most distinguished photojournalists. He is a Magnum photographer and documentary film-maker. He began using a camera when he was ten. His photographs from that time, which record a rural life that has now vanished, are now the most important to him. His photographic record of the farm near Villefranche where he was born in 1942, Le Ferme du Garet, was published in 1995 (Editions Carré).
More about the author →‘Having told his story, the thief had said goodbye to Agnès, regretfully, she thought’.
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‘We decided then to tell each other exactly how a typical fuck played out in our marriages. We couldn’t believe we’d never done this before.’
Fiction by Miranda July.
‘What does that mean, vegan cheese? asks a lady who’d had no query about amuse-bouche.’
An extract from The Alternatives by Caoilinn Hughes.
‘It’s true that public sex and cruising can be complicated, but I still believe in the solidarity that a look can forge between people.’
Amelia Abraham and Jack Parlett discuss cruising, nostalgia and the privatisation of public sex.
Antonin Kratochvil’s photographs of sideshow performers for Granta 39: The Body.
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