When an author dies, literary estates take over – bringing disputes, fraud and conflagrations.
Sex, strife and a move to the right: how the American novelist faced up to his personal life in fiction.
The poet discusses film noir, the lost heart of Los Angeles, and his Goldsmith Prize-winning verse novel The Long Take.
Gabriel Josipovici on his Goldsmiths-shortlised novel The Cemetery in Barnes, agendas in fiction, and whether literary prizes are a force for good.
In this Goldsmiths Prize-shortlisted novel, as elsewhere, Josipovici favours a sort of insidious obliqueness.
Exploring the role played by negative emotions in recent history.
Dyer has always been a writer for whom talking about something properly and honestly means talking about a lot of other things as well.
Michelle Dean’s Sharp: The Women Who Made an Art of Having an Opinion engineers a “cohort” of female writers as varied as Joan Didion, Hannah Arendt and Zora Neale Hurston.
Catholic and rational, profound and comic, Scottish and international: the novelist squared circle after circle.
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The Chartered Institute of Building and the New Statesman gathered a panel of experts to discuss the wider social and economic impact of the built environment.
By the 1860s Dostoevsky had been orphaned, imprisoned, conscripted and widowed. Lumbered with debts and immersed in the nihilism of St Petersburg, he set about developing the “psychological account of a crime”.
The debut novelist on how he tackled the marital chaos and unsavoury opinions of a modernist poet in his Goldsmiths Prize-shortlisted novel Playing Possum.