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'[Greenlaw] wields her erudition lightly.'Sunday Times'Remarkable, visionary.'CELIA PAUL'Indescribably brilliant.'Daily Telegraph'Kaleidoscopic.'Guardian'A rare pleasure... rewarding and thought-provoking.'Irish Times From the celebrated poet, novelist and memoirist, The Vast Extent is a constellation of'exploded essays'about light and image, seeing and the unseen. Each is a record of how thought builds and ideas emerge, aligning art, myth, strange voyages and scientific scrutiny with a poet's response so that they cast light upon each other. In this original and illuminating work, Lavinia Greenlaw invites us to observe our world and beyond with a new sensitivity.

The eleventh issue of a digital journal created to alleviate the malaise of social distancing with exceptional writing and artwork.The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. Through The Quarantine Review, Dupuis and Sarfraz give voice to the swirling emotions inside each of us, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of this journal.The eleventh issue features the work of Carolyn Bennett, Terri Favro, Susan Glickman, Catherine Graham, Jennifer Hosein, Mike Lee, Zoe Grace Marquedant, Aila Omar, Janette Platan, Deepa Rajagopalan, Greg Rhyno, Ian Roy, and Heather J. Wood.

Knausgaard's struggle is still ongoing with In the Land of the Cyclops as he continues to navigate the fjord of truth between reality and experience“This, which we perhaps could call inexhaustible precision, is the goal of all art, and its essential legitimacy.” —Jessica Ferri, The Los Angeles TimesIn his first essay collection to be published in English, the New York Times bestselling author of the My Struggle series Karl Ove Knausgaard explores art, philosophy, and literature with piercing candor and remarkable erudition. Paired with full color-images, his essays render the shadowlands of Cindy Sherman's photography, illuminate the depth of Stephen Gill's eye, and tussle with the inner mechanics of Ingmar Bergman's workbooks. In one essay he describes the figure of Francesca Woodman, arms coiled in birch bark and reaching up toward the sky—a tree. In another, he unearths Sally Mann's photographs of decomposing corpses, so much so that branches and limbs, hair and grass, begin to harmonize.Each essay bristles with Knausgaard's searing honesty and longing to authentically see, understand, and experience the world.

The ninth issue of a digital journal created to alleviate the malaise of social distancing with exceptional writing and artwork. The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. As we face a pandemic with profound implications, the essays within offer a variety of perspectives on the current predicament, encouraging readers to reflect on the world we knew before and contemplate how society can be reshaped once we emerge. Through The Quarantine Review, Dupuis and Sarfraz hope to give voice to the swirling emotions inside each of us during this unprecedented moment, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of our homes. This issue includes writing from Jowita Bydlowska, Yuan Changming, Teresa Douglas, Hollay Ghadery, Eleni Gouliaras, Vera Hadzic, Kevin Heslop, Carol Lipszyc, Monty Reid, Deryck N. Robertson, Lynn Tait, Myna Wallin, Matthew Walsh, and Katie Welch, with art by Shannon Kennedy.

The tenth issue of a digital journal created to alleviate the malaise of social distancing with exceptional writing and artwork. The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. As we face a pandemic with profound implications, the essays within offer a variety of perspectives on the current predicament, encouraging readers to reflect on the world we knew before and contemplate how society can be reshaped once we emerge. Through The Quarantine Review, Dupuis and Sarfraz hope to give voice to the swirling emotions inside each of us during this unprecedented moment, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of our homes. This issue is an homage to pulp fiction, featuring the work of David Barrick, Diana Fitzgerald Bryden, Maureen Hynes, Shaun Jex, Mike Lee, Keriann McGoogan, Jeff Parent, A.G. Pasquella, H.C. Phillips, Todd Sullivan, Ishmael A. Soledad, and Daniel Wade.

The eighth issue of a digital journal created to alleviate the malaise of social distancing with exceptional writing and artwork. The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. As we face a pandemic with profound implications, the essays within offer a variety of perspectives on the current predicament, encouraging readers to reflect on the world we knew before and contemplate how society can be reshaped once we emerge. Through The Quarantine Review, Dupuis and Sarfraz hope to give voice to the swirling emotions inside each of us during this unprecedented moment, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of our homes. This issue includes writing from Russell Carisse, Conyer Clayton, Kim Fahner, Joel Robert Ferguson, Batnadiv HaKarmi, Courtney Leblanc, Lisa Michelle Moore, Leah Mueller, Nathanael O'Reilly, Sanjana Rajagopal, John Stiles, and Anuja Varghese.

The fifth issue of a digital journal created to alleviate the malaise of social distancing with exceptional writing and artwork. The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. As we face a pandemic with profound implications, the essays within offer a variety of perspectives on the current predicament, encouraging readers to reflect on the world we knew before and contemplate how society can be reshaped once we emerge. Through The Quarantine Review, Dupuis and Sarfraz hope to give voice to the swirling emotions inside each of us during this unprecedented moment, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of our homes.The issue is an homage to the pulp, crime, and science fiction magazines of the first half of the twentieth century, featuring the work of Matt Cahill, Roseanne Carrara, J.J. Dupuis, Doug Fedrau, Samantha Garner, Joel Giroux, Matthew Heiti, Timothy S. Johnston, Jamie Michaels, C.S. O'Cinneide, and Loucas Raptis, with cover art by Chippewar.

The fourth issue of a digital journal created to alleviate the malaise of social distancing with exceptional writing and artwork. The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. As we face a pandemic with profound implications, the essays within offer a variety of perspectives on the current predicament, encouraging readers to reflect on the world we knew before and contemplate how society can be reshaped once we emerge. Through The Quarantine Review, Dupuis and Sarfraz hope to give voice to the swirling emotions inside each of us during this unprecedented moment, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of our homes. This issue features writing by rob mclennan, Kim Fahner, Catherine Mwitta, Jennifer LoveGrove, Anita Dolman, Sarah Elahi, Ace Boggess, and Sarah Campbell and artwork by Laura Boyle.

The Quarantine Review is a literary journal created to alleviate the malaise of social distancing with exceptional writing and artwork. The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. As we face a pandemic with profound implications, the essays within offer a variety of perspectives on the current predicament, encouraging readers to reflect on the world we knew before and contemplate how society can be reshaped once we emerge. Through The Quarantine Review, Dupuis and Sarfraz hope to give voice to the swirling emotions inside each of us during this unprecedented moment, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of our homes. This issue includes writing from J.J. Dupuis, Stacey May Fowles, Samantha Garner, Fei Lu, A.G. Pasquella, Shajia Sarfraz, Paul Vermeersch, and Lindsay Zier-Vogel.

The sixth issue of a digital journal created to alleviate the malaise of social distancing with exceptional writing and artwork. The Quarantine Review celebrates literature and art, connecting readers through reflections on the human condition — our lived experiences, afflictions, and dreams. As we face a pandemic with profound implications, the essays within offer a variety of perspectives on the current predicament, encouraging readers to reflect on the world we knew before and contemplate how society can be reshaped once we emerge. Through The Quarantine Review, Dupuis and Sarfraz hope to give voice to the swirling emotions inside each of us during this unprecedented moment, to create a circuit of empathy between the reader, the work itself, and the wider world beyond the walls of our homes. This issue includes writing from Susan Alexander, Rima Berns-McGown, Joseph Cicerone, Lucas Crawford, Paula Ethans, Jen Knoch, Hannah MacReady, Linda McMullen, Archana Sidhar, Matthew St. Amand, Laura Wills, and Elana Wolff, with art by Camilla Gibb.

Andrew Forge was an English painter and a teacher of painting (Yale University 1975–1994), renowned and respected on both sides of the Atlantic. But he was also known for his writing on the arts, spanning almost fifty years, which was admired for the delicacy and openness of his language and the ways in which he thought about the processes of perception in all their sensual possibilities. The selection here of his writings is intended to show the range of his interests and the particularly personal interpretations he brought to all he saw in an art with which he was so passionately engaged. It is also a fascinating record of the arts that were of concern in the years he wrote, from the work of Rubens to that of Rauschenberg and Frankenthaler, as well as, especially in his last essays, the work of his many friends and associates: Kenneth Martin, Euan Uglow, Jake Berthot, William Bailey, and Graham Nickson.

Guy Davenport demonstrates his unparalleled critical vision as he interprets art, literature, and culture In this collection of 20 essays, Guy Davenport applies his insightful gaze and critical wisdom to topics including modern art and the effects of the automobile on contemporary society. His work ranges from “What Are Those Monkeys Doing?” in which he links the paintings of Rousseau to the writings of Rimbaud and Flaubert, to “Imaginary Americas,” a survey of the different roles America has filled in the imagination of Europeans. Davenport, 1 of the foremost American critics and intellectuals of the 20th century, brings his piercing intellect, encyclopedic references, and careful eye for detail to each piece in Every Force Evolves a Form. Whether writing on the philosophy behind modernism or a study of table manners, the paintings of Henri Rousseau or the design of Shaker handicrafts, Davenport always devotes his full attention and multi-angled analysis to the subject at hand. To read this thought-provoking collection is to see the inner-workings of Davenport's brilliant mind, with its varied fascinations and unparalleled insights.

Included are conversations with Nicole Aragi, Lesley Hazleton, and George Packer, and features and poetry from Tomaž Šalamun, Kiese Laymon, Ann Neumann, J. Malcolm Garcia, Rebecca Gayle Howell, Cecilia Rodríguez Milanés, and many more of Guernica's esteemed contributors.

Portraits and Prayers is a collection of early essays and word portraits by the American writer Gertrude Stein. Her subjects often provide a description of what she observed in her Saturday salons.

Includes index.

From Holbein to Hockney, from Norman Rockwell to Pablo Picasso, from sixteenth-century Rome to 1980s SoHo, Robert Hughes looks with love, loathing, warmth, wit and authority at a wide range of art and artists, good, bad, past and present. As art critic for Time magazine, internationally acclaimed for his study of modern art, The Shock of the New, he is perhaps America's most widely read and admired writer on art. In this book: nearly a hundred of his finest essays on the subject. For the realism of Thomas Eakins to the Soviet satirists Komar and Melamid, from Watteau to Willem de Kooning to Susan Rothenberg, here is Hughes—astute, vivid and uninhibited—on dozens of famous and not-so-famous artists. He observes that Caravaggio was “one of the hinges of art history; there was art before him and art after him, and they were not the same”; he remarks that Julian Schnabel's “work is to painting what Stallone's is to acting”; he calls John Constable's Wivenhoe Park “almost the last word on Eden-as-Property”; he notes how “distorted traces of [Jackson] Pollock lie like genes in art-world careers that, one might have thought, had nothing to do with his.” He knows how Norman Rockwell made a chicken stand still long enough to be painted, and what Degas said about success (some kinds are indistinguishable from panic). Phrasemaker par excellence, Hughes is at the same time an incisive and profound critic, not only of particular artists, but also of the social context in which art exists and is traded. His fresh perceptions of such figures as Andy Warhol and the French writer Jean Baudrillard are matched in brilliance by his pungent discussions of the art market—its inflated prices and reputations, its damage to the public domain of culture. There is a superb essay on Bernard Berenson, and another on the strange, tangled case of the Mark Rothko estate. And as a finale, Hughes gives us “The SoHoiad,” the mock-epic satire that so amused and annoyed the art world in the mid-1980s. A meteor of a book that enlightens, startles, stimulates and entertains.