The Goldsmiths Prize shortlisted author discusses the value of risk, the challenge of proportion, and the role of builders in contemporary thought.
Our generation is to blame – we’re the ones who took the avant-garde and turned it into a successful rearguard action by the flying columns of capitalism’s blitzkrieg.
The museum’s wet collection is the museum’s most memorable feature. It contains “around one million zoological objects in 276,000 vials, preserved in 81,880 litres of ethanol”.
An excerpt from Bare Reality, a project to further understanding of how women really feel about their breasts, and how they really look.
The death of an author doesn’t necessarily mean the death of their characters. Hercule Poirot is the latest sleuth to come back for an encore.
The film, adapted from Laura Wade’s Bullingdon Club-based play Posh, fails to address the fact that it isn’t just the restaurant-smashers who benefit from Oxbridge elitism.
We don’t know what to expect: whether they want us to be garrulous or mysterious; live up to our image or confound it; be starry or down to earth.
Reading Roxane Gay comes as a relief – as being involved in feminism can sometimes feel more like voluntarily climbing into the stocks than participating in a social movement.
Tom Humberstone’s weekly comic.
Pride takes a subject that might be considered earnest or marginal and smuggles it through in jazzy, feel-good colours.
In a paper published in the autumn issue of History Workshop Journal Dr Amy Erickson unravels the fascinating history of the titles used to address women. Her research reveals the subtle and surprising shifts that have taken place in the usage of those ubiquitous M-words.
The New Statesman goes behind the froth of daily headlines to look at the people and the passions shaping our world.
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