Author: Rhys Tranter

Rhys Tranter is a writer based in Cardiff, Wales, UK. He is the author of Beckett's Late Stage (2018), and his work has appeared in the Times Literary Supplement, The Spectator, and a number of books and periodicals. He holds a BA, MA, and a PhD in English Literature.

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Thomas Merton
Thomas Merton’s hermitage

Autobiography is always negotiating two or more voices, speaking from separate and distinct moments in time. We can see this in what is perhaps the earliest example of modern autobiography, St Augustine‘s Confessions, where a present-day narrator attempts to reconstruct a previous life. In this way, autobiographical writing attempts to collapse the distance between childhood and adulthood, innocence and experience, and past and present.  (more…)

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Michael Richardson discusses how literature can help shed new light on our understanding of torture, trauma, and affect
Michael Richardson, Gestures of Testimony (Bloomsbury, 2016)
Michael Richardson, Gestures of Testimony (Bloomsbury, 2016)

How did you come to write Gestures of Testimony?

One of Barack Obama’s first acts as President was to declassify the Torture Memos of the Bush Administration. Suddenly, the architecture of American torture was visible to an extent that it had never been before. At the time, I was working as a speechwriter in Canada for Jack Layton, who was then the leader of the New Democratic Party, and watching very closely what was happening across the border. I became obsessed with how torture was articulated and authorised, and even more so with the effect it had on both survivors and perpetrators. I’ve always understood the world through writing and literature, so I wanted to understand torture in that context too. That led me to a PhD on torture, literature and politics, and from there to writing Gestures of Testimony. (more…)

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British artist Tom Harman discusses how critical theory led him to return to painting
Tom Harman installs abstract paintings at Little Man Coffee Co., Cardiff. Photograph: Rhys Tranter.
Tom Harman installs abstract paintings at Little Man Coffee Co., Cardiff. Photograph: Rhys Tranter.

When did you start painting?

Drawing and painting, for me, was what I always did and was always good at. Throughout school I only ever wanted to paint and couldn’t wait to leave at 16 and begin a BTECH in Art and Design at my local FE college. This was a great experience, at last getting to create visual material all day, every day. I was particularly interested in painting that had some form of social commentary and was influenced by the New Glasgow Boys, painters from the Glasgow School of Art such as Steven Campbell, Peter Howson and Ken Currie, as well as the big names in British painting such as Frank Auerbach, Leon Kossoff, Francis Bacon and Lucian Freud. (more…)

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Aimee Pozorski discusses the complex ways we engage with art and writing in the wake of the September 11th attacks

We are conducting this interview fifteen years after the September 11th terrorist attacks took place. What motivated you to write Falling After 9/11? How did the project begin?

Aime Pozorski, Falling After 9/11: Crisis in American Art and Literature (Bloomsbury, 2016)
Aimee Pozorski, Falling After 9/11: Crisis in American Art and Literature (Bloomsbury, 2016)

The project began with the installation of Graydon Parrish’s 9/11 mural, Cycle of Terror and Tragedy, which was commissioned in 2002 by the New Britain Museum of American Art in my hometown of New Britain, CT. It took Parrish four years to complete the work, and when it was finally revealed, some critics savaged it for its commitments to Classical Realism. After being outraged that reviewers could be so callous, my training in trauma theory kicked in. As a trauma theorist who studies literature, I frequently consider ways in which a text’s moments of so-called failure can actually succeed in telling us something not only about the nature of representation but also about traumatic history itself. What does it mean that so many representations of 9/11 seemed inadequate? I asked myself. And does that have more do to with the nature of trauma and our reception of art and literature than it does with the singular talents or contributions of individual artists themselves?  (more…)

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The avant-garde reedist’s iconic outing for Blue Note Records was recorded on this day in 1964
Eric Dolphy, Out to Lunch! (Blue Note, 1964)
Eric Dolphy, Out to Lunch! (Blue Note, 1964)

On this day in 1964, Eric Dolphy entered Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey, to record one of Blue Note Records’ most distinctive and iconic records. Joined by Freddie Hubbard (trumpet), Bobby Hutchinson (vibraphone), Richard Davis (bass) and an eighteen-year-old Anthony Williams (drums), Dolphy brought along his alto saxophone, bass clarinet, and flute for the date.

Out to Lunch! is the culmination of a sequence of recordings that explored the possibilities of avant-garde jazz in the early 1960s, from Dolphy’s first album as leader, Outward Bound (New Jazz, 1960), to Out There (New Jazz, 1960), to his 1961 recordings at the Five Spot and 1962’s Far Cry (New Jazz). Across these works we can hear the artistic development of Dolphy as a restless and inventive talent. Out to Lunch! nods a debt to bebop in its tribute to pianist Thelonious Monk (‘Hat and Beard’), and acknowledges the classical flautist Severino Gazzelloni (‘Gazzelloni’), but while the album negotiates the legacy of bebop and post-bop music it simultaneously reaches towards freer musical forms. (more…)

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Lecture slide from Utopia: Suffrage to Cyberpunk.
Lecture slide from Utopia: Suffrage to Cyberpunk.

I’m currently teaching a literature module at Cardiff University entitled Utopia: Suffrage to Cyberpunk, which traces the development of utopian/dystopian writing in the twentieth-century. Yesterday’s lecture included something of a surprise, when Margaret Atwood  took time to share a few words the group via Twitter. We spent a few minutes at the end of the lecture following her sage advice, collectively acquainting ourselves with the wonders of Thug Notes.

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A new study explores the potential for agency and flight in post-war working-class writing

“I’m not working-class: I come from the criminal classes.” These words by the actor Peter O’Toole play on a broader prejudice that aligns working-class identity with marginality and transgression. Roberto del Valle Alcalá explores these thematic links in British Working-Class Fiction, which traces an alternative literary history of the British Isles, spanning from 1950 to the economic collapse of 2008. Alcalá documents life on the hard shoulder of modern capitalist progress, offering an analysis of working-class experience through detailed theoretical readings of Alan Sillitoe, Pat Barker, Irvine Welsh, Monica Ali and others. [Read More]

This extract is from my review of Roberto del Valle Alcalá’s British Working-Class Fiction: Narratives of Refusal and the Struggle Against Work, published in the Times Literary Supplement, 24 February 2017.