Repeater: What struck you about Susan Sontag’s diaries?
Siouxzi Connor: I felt like an invader reading these things but at the same time couldn’t pull myself away. I guess, in her personal life, the fact that she went through such a turn-around in her sexuality as well – publicly too.
Obviously, the public side of it was more or less towards the end of her life, not so much when she was at the height of her fame, of her productivity. But I could see this pain coming out in her dairies that I also felt with my own struggles with identity, struggles with sexuality or sexual identity, and knowing whether to make that topic apparent in my writing room.
Repeater: I’m fascinated by what seems to be a really strong strand in your art of this idea of a forest. Am I wrong in noticing that that’s a thing? If I’m not, what’s it all about?
Siouxzi: It really stems from my childhood. It stems from this acquired common obsession that maybe a lot of children have of always trying to visualize this sense of home. They might draw this little square with a triangle and a little pitched roof and show the little path and a picket fence sort of picture of home. Continue reading Siouxzi Connor on forests, childhood and Susan Sontag
I really want to turn our understanding of revolt upside down. I want to invert it, to turn it upside down. Rather than looking upon it as a lowly emotional outburst, I want us to see it as, in some ways, the high point for politics, for our ethical commitment to others on earth.
And within that, there is also a kind of historical concern that my book takes up and that is the idea of the revolt as not being over when it’s done. This gets to the whole title of the book Specters of Revolt and its meaning.
This is why I wrote the book within the context of a hauntology—being haunted. Societies are haunted by revolts because often times something happens—a revolt, an uprising takes place over a weekend or it goes on for two weeks—maybe if it’s a very intense thing it can go for three or four—and then it’s over and people say, “Ah, it’s over but nothing happened.” Continue reading Richard Gilman-Opalsky speaks
I interviewed JD Taylor—author of Island Story: Journeys Around Unfamiliar Britain—about the motives behind his extraordinary 4-month bike tour of the UK. Dan explains that the bicycle was secondary–what was important was to get out of London and see the parts of the island that have been written out of the story—JT
Listen to the interview here, or read the full transcript below:
JT: When you set out on this journey, what did you expect to find?
JD Taylor: I had been writing a lot about politics in Britain, and I was expecting that the decreases in the standard of living would really stand out. I expected that the recession and unemployment would have caused a kickback reaction of people starting to demand a more democratic way of life. That hadn’t happened and I was quite surprised by that. It made me come to realize that perhaps what is most instrumental is not what is external, but the internal and state of culture and politics, particularly the rule of fear. I sensed that people were very afraid.
When I set out, I wanted to find out why people weren’t doing more to take their communities into their own hands…why people weren’t shocked that their children/grandchildren were going to have a much worse quality of life than they have. I sensed a confusion and inertia about what could be done. I felt like people were very disempowered.