In this month's episode we speak to Gabriel Josipovici. Gabriel's first novel was published in 1968 and his writing career spans over twenty works of fiction, numerous works of criticism and non-fiction, and regular articles in the TLS. Continuing our current coronavirus set-up, Gabriel joined us remotely from Sussex and our discussion covered how his writing has developed over six decades, the perils of writing an unexpectedly backlash-provoking book on Modernism, the creative possibilities revealed by examining painters & composers and much more. The 'acceptably long' novel we briefly discussed was George Perec’s ‘Life: A User’s Manual’ The vast majority of Gabriel's work is published by Carcanet: https://www.carcanet.co.uk/cgi-bin/indexer?owner_id=368 Gabriel's website is here: http://www.gabrieljosipovici.org/ Find us on Twitter: @UnsoundMethods - @JaimieBatchan - @LochlanBloom Jaimie's Instagram is: @jaimie_batchan Thanks for listening, please like, subscribe and rate Unsound Methods wherever you get your podcasts. Our website is: https://unsoundmethods.co.uk/ We are teaming up with the Institute of English Studies at the School of Advanced Study, University of London. With the current uncertainty in the world, why not check out their Literature in Lockdown page? : https://www.ies.sas.ac.uk/about-us/ies-virtual-community/literature-lockdown
Hamlet Fold On Fold: Gabriel Josipovici with Charles Nicholl
London Review Bookshop Podcast
Gabriel Josipovici came to the bookshop to discuss his new book, Hamlet Fold on Fold, a scene-by-scene examination of Hamlet resisting grand interpretative narratives in preference for focusing on our physical experience of watching, reading and... See acast.com/privacy for privacy and opt-out information.
In search of lost modernism: novelist and critic Gabriel Josipovici
Notebook on Cities and Culture
Colin Marshall talks to Gabriel Josipovici, author of many novels and critical essays involved with the aesthetics and techniques of modernism. In his latest book, What Ever Happened to Modernism?, he traces modernism’s roots further back in history than perhaps any other scholar of modernism has done before. It’s all in the service of the titular question, which expresses a deep concern of anyone who enjoys modernist works today: how and why has the Western world so largely ignored the excitement and potential of modernist art, that is, art conscious of its own limits and responsibilities?