In the Critics this week

Jonathan Lethem on Philip Roth and Steven Poole on David Hendy's latest book.

In the Critics section of this week’s New Statesman, American novelist Jonathan Lethem pays tribute to Philip Roth, who turns 80 this month. Reading Roth as a young man, Lethem writes, illuminated “something aggravated and torrential in my voice” – something specifically Jewish. “As Roth points out, the books aren’t Jewish because they have Jews in them. The books are Jewish in how they won’t shut up or cease contradicting themselves, they’re Jewish in the way they’re sprung both from harangue and from defence against harangue, they’re Jewishly ruminative and provocative.”

In Books, Steven Poole reviews David Hendy’s Noise: a Human History of Sound and Listening. “Hendy’s emphasis is on championing noise as a vehicle of sociality,” writes Poole. Hendy devotes a chapter to the noise of stadium crowds but, Poole notes, “does not mention the most notorious instrument of sporting mob dictatorship. I mean the vuvuzela, the plastic horn whose aggregated cacophonous buzz-farting ruined the auditory atmosphere of the 2010 World Cup”.

Also in Books: Alwyn W Turner reviews Mod: a Very British Style by Richard Weight (“Born in the affluence of Harold Macmillan’s Britain, mod was a cross-class coalition of youth, bringing together the art school and the assembly line …”); Lucy Wadham reviews Marcela Iacub’s novelised “memoir” of her affair with Dominique Strauss-Kahn (“There are moments when I feel that as long as I live … France will remain forever a mystery to me. Reading Marcela Iacub’s books Belle et bête … was one such moment”); Sarah Churchwell reviews O My America! Second Acts in a New World by Sara Wheeler (“Wheeler wants to claim more significance for these women than perhaps they merit”).

Elsewhere in the Critics: Ryan Gilbey reviews Danny Boyle’s Trance and Ken Loach’s The Spirit of ’45 (“That The Spirit of ’45 survives its simplifications is due to the sincerity and urgency of Loach’s argument. And, regrettably, to its pertinence”); Antonia Quirke listens to the first episode of David Hendy’s 30-part history of noise on Radio 4 (“this sounds like the most sub-avant-garde and brilliant new programme on BBC radio”); Rachel Cooke is disappointed by the BBC’s adaptation of The Lady Vanishes, though she concedes that the performances are “universally lovely”; Ollie Brock visits an exhibition of the archive of the writer Roberto Bolano in Barcelona (“For true Bolanistas … the most interesting items will be glimpses of … the ‘possible books’ to come, the unpublished manuscripts …”); Kate Mossman reviews What About Now, the new album by Bon Jovi (“Hair metal … has had a bit of a reassessment in the past few years …”.)

PLUS: “King Vulture”, a poem by Joe Dunthorne, and Will Self’s Madness of Crowds.

 

Philip Roth photographed by Eric Thayer. (Photo: © Eric Thayer)
Hydar Dewachi/Owen G. Parry
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Larry is Real: how One Direction fanfiction is inspiring the London art scene

“These fictions are an opportunity to create – for pure expression in their field.

Where does the boundary lie between fanfiction and art? It’s a question that has become more and more prominent as fanfiction’s influence over popular culture continues to rise. London-based artist and Central St Martin’s lecturer Owen G Parry argues that there is no boundary at all. His latest work explores the world of “Larry Stylinson”, that is, fanfiction and fanart that explore a sexual relationship between One Direction band members Harry Styles and Louis Tomlinson.  

Showing as part of the Jerwood Gallery’s “Common Property” exhibition, Parry’s pieces include Larry Underwater Kiss, a digital silk print, Larry!Hiroglyfics, etched drawings of the couple on Perspex alongside the slogan ship everything, and Larry!Domestic: masks of Louis and Harry in pink containers, alongside a wearable pregnant belly marked with Harry’s tattoos. The exhibiton event included a live piece of performance art, featuring One Direction lookalikes kissing, hugging and undressing one another.

For Perry, these works are just one extension of an existing artistic sphere, exploring “the figure of the fan as an unassuming model for invention, mobilization and revolt”. He told the Telegraph that Larry shippers are “just presenting the normal ideals of a relationship, but actually it’s really subversive”.

“These fictions are an opportunity to create – for pure expression in their field. Fandom is a space where anything can happen. We might go back to a genuine passion in art.”

It’s an important sentiment: fanfiction writers and fanart creators, especially those working within fandoms like One Direction’s, are often young women who are intellectually and creatively dismissed. But fanfiction often provides a space for young artists who might be marginalised in the mainstream to create artwork that reflects their experiences, whether it be by racebending or reimagining characters in different power structures and dynamics.

Shipping is a key part of that, particularly for LGBTQ fans, something perhaps flattened in Perry’s statement, “Creating relationships: this is a method in fandom called ‘shipping’, which I’ve basically taken on and applied to my art practice [...] This whole installation is me ‘shipping’ materials and ideas, theories and passions.”

Of course, as long as fans have existed, fandoms of all shapes and sizes have engaged in shipping. But Larry is a particularly controversial one, because it involves playing with, and sometimes intruding upon, the lives of two real people. Larry shippers are infamous for their dedication to the ship and their insistence that it is a genuine conspiracy, rather than a fiction.

Theories usually rest on the idea that the band’s management Modest is forcing the band members to hide their sexuality and publically date women as beards, with some going as far as to suggest that the mother of Louis Tomlinson’s child, Briana Jungwirth, had a fake pregnancy. The first replies to any One Direction member’s social media posts is usually a variation of “larry” or #LarryIsReal.

Louis Tomlinson has been particularly outspoken about the ship, labelling it “bullshit” in a 2012 tweet, and reportedly saying, “it’s actually affecting the way me and Harry are in public”.

Bandmate Liam Payne called Larry shippers “absolutely nuts”, saying the theories drive him “insane”: “when you know the ins and outs of what is going on with people it's just annoying when it's so stupid. It becomes like a conspiracy or like a cult”. Zayn Malik added in an interview last year, “It’s not funny, and it still continues to be quite hard for them. They won’t naturally go put their arm around each other because they’re conscious of this thing that’s going on, which is not even true.” Some fans argue that the band members are visibly less close as a result.

Perhaps these internal criticisms and controversies miss the point. Perry sees Larry shipping as “a safe place to test out your sexuality, a fantasy space” for many young fans. As a community brimming with “passion and love” and rebellious creativity, perhaps fan-made art can have a positive impact on the art world as a whole.

All photographs by Hydar Dewachi. All artwork by Owen G Parry. Follow his fan-influenced work at fanriot.tumblr.com.

Anna Leszkiewicz is a pop culture writer at the New Statesman.