Adam Shatz

Adam Shatz is the LRB’s US editor. He is the author of Writers and Missionaries: Essays on the Radical Imagination, which includes many pieces from the paper, and The Rebel’s Clinic: The Revolutionary Lives of Frantz Fanon. He has written for the LRB on subjects including the war in Gaza, Fanon, France’s war in Algeria, mass incarceration in America and Deleuze and Guattari. His LRB podcast series, Human Conditions, considers revolutionary thought in the 20th century through conversations with Judith Butler, Pankaj Mishra and Brent Hayes Edwards. Sign up here.

From The Blog
10 November 2016

Donald Trump’s quasi-apocalyptic victory marks the end of American exceptionalism: a certain idea of America, as a model of democracy and freedom, is dead. Trump didn’t kill it; he declared it dead with a campaign that was as surreal as it was reactionary. ‘It’s a nightmare,’ a French friend wrote to me in an email. ‘It’s worse than a nightmare,’ I replied. ‘It’s reality.’

Promenade Dora-Bruder: Patrick Modiano

Adam Shatz, 22 September 2016

In​ 1966, a young writer named Patrick Modiano published his first short story, a satire set in a summer concentration camp called ‘Saint-Tropez-Ravensbrück’. Surrounded by ‘charming Kapos’, the inmates – ‘children of Himmler and Coca-Cola’ – are lulled into submission by LSD and hedonism. Paris’s leading artists and intellectuals...

From The Blog
2 September 2016

A few weeks ago, I played an album by the jazz saxophonist Henry Threadgill to a composer I know, and asked him to guess who wrote it. Old Locks and Irregular Verbs is an extended suite for an octet, and, like many of Threadgill's compositions, full of jagged rhythms and mind-teasing patterns. ‘Milton Babbitt?’ my friend suggested. Babbitt was an academic serialist composer and the author of a notorious article, ‘Who Cares if You Listen?’ But he also dabbled in jazz, or rather, in ‘Third Stream’ music. The Third Stream, a synthesis of classical music and jazz, was first dreamed up by the French horn player and composer Gunther Schuller, in a 1957 lecture at Brandeis University.

From The Blog
5 April 2016

In No Name in the Street, James Baldwin describes how, not long after he settled in France in 1948, he ‘had watched the police, one sunny afternoon, beat an old, one-armed Arab peanut vendor senseless in the streets, and I had watched the unconcerned faces of the French on the café terraces, and the congested faces of the Arabs.’ With a ‘generous smile’, Baldwin's friends reassured him that he was different from the Arabs: ‘Le noir américain est très évolué, voyons!’ He found the response perplexing, given what he knew of French views about the United States, so he asked a ‘very cunning question’:

The Daoud Affair

Adam Shatz, 3 March 2016

‘I write in French to tell the French that I am not French,’ the Algerian writer Kateb Yacine once said. ‘The French language was and remains a trophy of war.’ In his novel Meursault, contre-enquête (a retelling of Camus’s L’Etranger), Kamel Daoud, one of Yacine’s most gifted heirs, slyly suggests that the coloniser's tongue is not so much...

Fanon’s world has a logic. His pages are full of identities, contradictions, Aufhebungen – master and slave, being and nothingness. Any biography, however, has to decide in the end which...

Read more reviews

Read anywhere with the London Review of Books app, available now from the App Store for Apple devices, Google Play for Android devices and Amazon for your Kindle Fire.

Sign up to our newsletters

For highlights from the latest issue, our archive and the blog, as well as news, events and exclusive promotions.

Newsletter Preferences