How Nirvana’s Nevermind spoke to an alienated generation
On the band’s defining second album, Kurt Cobain found a golden ratio between melody and noise.
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Tom Gatti
Tom Gatti is deputy editor of the New Statesman.
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“We are pretty invisible in fiction”: Bernardine Evaristo on power, racism and her wild Eighties days
The Booker Prize winner speaks to the New Statesman about her career and the state of modern fiction, three days after…
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It’s time for more men to try shared parental leave
“It’s not often that government legislation kick-starts a revolution,” Nick Clegg, the then deputy prime minister, wrote in 2014.…
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Back to the future: what to read in 2019
A planet in crisis, Orwell’s legacy and the art of doing nothing – plus new fiction by Margaret Atwood, Zadie…
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“I’ve been homeless myself: you start thinking, ‘I’m not entitled’”: novelist Anna Burns on winning the Booker Prize
The 2018 Man Booker Prize winner talks to Tom Gatti about living on benefits and using food banks, the psychology…
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“I’ve got a few of these stories”: An afternoon with Clive James, Tom Stoppard and Julian Barnes
A party at Clive James’s house turned into a symposium between three of our greatest writers and talkers. We…
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Rachel Cusk makes Goldsmiths Prize shortlist for the third time
The prize for “fiction at its most novel” has nominated Cusk for the third time in four years, for the…
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Northern Ireland’s bloody border, why Alan Sugar is not so sweet and newsroom jargon
A division drawn along old county lines, with “a medieval, magical feel to it”.
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Lost boy: the meanings and motivations of Michael Jackson
Jackson wanted his career to be “the greatest show on earth”, but he paid for it with his childhood.
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