It took 27 years for me to admit that I didn’t want to be around people who create things. I didn’t want to be with them. I was already one of them.
The unhappy history of the workplace.
The Norwegian autobiographical author writes a spring reflection especially for the New Statesman.
In the next instalment of the “Austen Project”, the Scottish crime writer gives her modern-day take on the novel formerly known as Susan.
Two new novels, about a Romanian in Paris in the 1920s and a Belgian living near the French border respectively, are examinations of nationality and identity.
Art and science both had a long history of secret codes hidden in plain sight. Adam Rutherford goes on the hunt.
A complex repertoire of psychosocial behaviours has been built up over the past two centuries in order for it to be possible.
Bolaño’s books are still appearing and we have not finished understanding them.
But if, like me, you are miserably fussy about your tea, then you will know that you never clean the inside of a teapot.
A new version of Comic Sans promises to lend credibility to the comic line of typefaces.
The television adaptation of the Coen Brothers’ film exhibits an uncomfortable attitude to violence against women.
For the Business Secretary, his Friday dance lesson is a small refuge from a fraught ministerial routine.
The double Man Booker-winning novelist Hilary Mantel on writing for the stage, finishing her Tudor trilogy – and the perils of being a woman in the public eye.
In 1934, Wells arrived in Moscow to meet a group of Soviet writers. While there Stalin granted him an interview.
Lukas Moodysson, director of Lilya 4-Eva and Container talks about his new (and most accomplished) film We Are the Best! in which three Stockholm teenagers form a punk bank.