On The White Review

The White Review No.9 (cover detail)My review of number nine of The White Review, an arts and culture quarterly from the UK, is now up at The Writers Bloc.

This is my third and likely final piece on lit mags – I feel like I’ve said all I want to say about them now; big thanks to the Writers Bloc gang (Emma especially on this one) for the opportunity to do that.

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One thought on “On The White Review

  1. “Stories and poetry and essays and art by different people you’ve likely never heard of. Why would you buy such a thing? I don’t believe they’re interrogated nearly enough.”

    I am particularly captivated by those words of yours above, Tristan. I admit I am much more inclined to buy stories and poetry and essays and art from people whose work I’m already familiar with. I’ve been known to buy half a dozen copies each of the same book from at least two artists I can think of, not to mention a few other artists whose ongoing works I’ve committed to collecting. I like to think it’s because I believe in supporting great artistry, but if I take into account that I rarely fork out for literary journals it appears that I’m more concerned with showing support for people I like, rather than anything like a general or global notion of creativity per se.

    Who is the they’re that you speak of? What is it, precisely, that you don’t believe is being interrogated nearly enough? By ‘interrogated nearly enough’ do you have something quantitative in mind, or is it closer to something more qualitative – along the line of being attentive? Is it possible to be attentive toward work that has been produced to appeal to an audience with a short attention span?

    I bought a part-collection of Mattoid

    http://trove.nla.gov.au/work/27640006?selectedversion=NBD2557869

    a few years ago from a second-hand-book shop in Portland Victoria while I was passing through on a journey of personal rediscovery. Among it all was two copies of issue 39. I bought the lot and mailed my spare #39 to you. It went missing in the post. That was before I knew the word for psychogeography, but the same time I discovered Ken Chau/Michael Clarke.

    Is there an answer in there somewhere for why buy such a thing as stories and poetry and essays and art by different people you’ve likely never heard of? I think so. But moreso I’ve been reading your review slash not a review of The White Review closely and felt like I was in the right place.

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