Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.
Ben Lerner’s second novel tries to emulate Walt Whitman’s democratic “I” in an age when economic imperatives trump democracy. It is a clever and timely work — as much the story of the novel’s construction as the novel itself.
The American novelist Marilynne Robinson tells Philip Maughan why good characters are more interesting than bad ones and why a sense of our own fallibility keeps us sane.
There is a sense that, in recent years, novelists have formed part of a rearguard action in response to Richard Dawkins’s New Atheist consensus. Philip Maughan talks to Marilynne Robinson, Francis Spufford and Rowan Williams about God in literature.
I had heard that a new pop-up space, Spiritland in Shoreditch, would be playing records from Hobsbawm’s personal collection, so I went along to listen.
The £10,000 prize for experimental fiction has been awarded to the Scottish writer for her sixth novel which is “dizzyingly good and so clever that it makes you want to dance”.
“There are two types of interns: poor ones and rich ones. The poor intern has pockets full of hope and needs a permanent position; the rich intern is unmotivated and wants for nothing.”
The scientists and engineers at “Alca-Loo”– as it is known among financiers – think of themselves as “the plumbers of the internet world”.
“Every relationship becomes a three-way,” July says of the new app, which launched yesterday at the Venice Film Festival.
In his new, Booker-longlisted novel, Joshua Ferris retains his title as the poet of the modern workplace, but his invented religion, Ulmism, proves to be a pretty dry excuse for a quest.
Geoff Dyer likes to take down “dim-witted academics”. So what happened when he turned up at a conference on . . . Geoff Dyer?
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