Ian Penman

Ian Penman’s essay collection It Gets Me Home, This Curving Track came out in 2019.

From The Blog
14 July 2014

Last week someone on Twitter sent me a photograph of the late German iconoclast Rainer Werner Fassbinder, decked out in the crisp white livery of FC Bayern Munich. Ach, der einzige Fassbinder! A waxy faced slob who worked harder than anyone alive; a queer and dreamy aesthete who necked Bavarian beer by the steinful and counted German league football an all-consuming passion. (All Fassbinder’s passions were all consuming: this was both his song, and his downfall.)

From The Blog
11 July 2014

Three World Cup teams were carrying a little piece of my heart: Algeria, France, Italy. When one by one they fell away, a large part of my own tournamental passion waned. As compensation, I picked up the recently published autobiography of my favourite Italian player, Andrea Pirlo, which glories in the frankly irresistible title I Think Therefore I Play. (Personally, I think a comma after ‘Think’ would have improved things no end, but I quibble.)

From The Blog
30 June 2014

On the subject of the Suárez bite, the World Cup pundits (David Runciman aside) were in agreement for once: ‘He’s sick’; ‘He’s obviously got a problem’; ‘He needs to get help.’ But in a kind of casual-wear version of ‘political correctness gone mad’ not a single one of them mentioned what’s staring us all in the face – the Suárez overbite. No one thought to mention those outrageously present teeth. But isn’t it possible that the back story is right here, hidden in plain sight? It’s not hard to imagine him receiving real grief for those teeth in his earliest years: children can be devastatingly cruel. If Suárez goes into analysis now, what chance his therapist will discover that on some deep unconscious level football was but a detour to his real goal – the revenge of those outsize teeth? That lurking somewhere in the backyard soul of Luis Alberto Suárez Díaz is still a hurt and resentful little boy? ‘Sticks and stones may break my bones, but names will never hurt me’ always struck me as one of the more misconceived bits of popular wisdom. Broken bones are nothing, a detail, a cinch to mend. But cruel and blithely repeated nicknames can haunt the soul for decades. A kiss on the wrist when he scores; a bite out of the old, jeering world when it stands in his way.

Fassbinder predicted a world of ubiquitous screens. He was flamboyantly gay, proudly ugly, extremely left-wing, outrageously productive and had an astonishing eye. It’s easy to imagine him, if he’d...

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Secretly Sublime: The Great Ian Penman

Iain Sinclair, 19 March 1998

One of the myths that fuzzes the shadowy outline of Ian Penman, a laureate of marginal places, folds in the map, is that Paul Schrader, the director of a sassy remake of Jacques Tourneur’s

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