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.

Israel’s​ legislative elections on 9 April were a tribute to Binyamin Netanyahu’s transformation of the political landscape. At no point were they discussed in terms of which candidates might be persuaded by (non-existent) American pressure, or the ‘international community’, to end the occupation. This time the question was which party leader could be trusted by...

From The Blog
20 March 2019

In December, Okwui Enwezor wrote to me from Munich. He had leukemia. ‘What I miss most,’ he said, ‘is the noise of life humming out there. It’s much too quiet here.’ He died last Friday, aged 55. Since then it’s felt very quiet, both for those who knew him personally, and for the many people who admired his work as a curator and writer. Okwui had a deep, booming voice, and a purposeful one. When he spoke, you listened. It’s hard to imagine not hearing it.

From The Blog
28 January 2019

In an interview with a French journalist, Joseph Jarman compared the Art Ensemble of Chicago, the avant-garde jazz quintet to which he belonged, to ‘a cake made from five ingredients: remove one of the ingredients and the cake no longer exists.’ Jarman, who died earlier this month, at 81, after a long illness, was the ingredient that made the band one of the most aesthetically adventurous groups of its era: he put the 'art' in Art Ensemble.

In the spring​ of 1961, Frantz Fanon wrote to his publisher in Paris to suggest that he ask Jean-Paul Sartre for a preface to his anti-colonial manifesto, The Wretched of the Earth. ‘Tell him that every time I sit down at my desk, I think of him.’ For revolutionary intellectuals in the Third World, Sartre seemed miraculously uncontaminated by the paternalism – and hypocrisy...

From The Blog
19 October 2018

The last set is over, and the club is almost empty. The bassist has already gone home, the drummer is walking out the door. That leaves the saxophonist and the pianist, but they decide they're not done yet. They have more ideas to exchange, more confidences to share. They begin to play again, only this time just for themselves. Do most saxophone and piano duets start out this way? Surely not, and yet the best of them could fool you, with their intimate, nocturnal ambience, their exploration of 'songs of love and regret', as the saxophonist Marion Brown and the pianist Mal Waldron called their 1986 album. On Random Dances and (A)Tonalities, the new album by the pianist Aruán Ortiz and the reedman Don Byron, the music is unapologetically cerebral, like the title.

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 of the various...

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