Joanna Biggs worked at the LRB from 2005 to 2021. Her book about work, All Day Long, was published in 2015.
At the end of the Catacombs, having walked among the bones of six million Parisians, you come to a single gravestone. Somewhere in the ossuary are the remains of Racine, Charlotte Corday, Robespierre and Montesquieu, yet the only monument is to Françoise Gillain, who, you discover, died in 1821 after spending years trying to free a writer unjustly held in the Bastille. Arriving at...
It’s a while since I saw Cléo de 5 à 7, but I remember that it opens with a tarot spread. The tarot reader draws cards in groups of three, for past, present and future. The young woman with her, Cléo Victoire, her blonde hair elaborately curled back onto her head like a Parisian Dusty Springfield, bites her fingers, covers her face, and after confessing that...
‘If ever there was a book calculated to make a man in love with its author,’ William Godwin wrote in 1798 of Mary Wollstonecraft’s Letters Written During a Short Residence in Sweden, Norway and Denmark, ‘this appears to me to be the book.’ Mary’s aim was off: she was trying to get back an errant lover but ended up ensorcelling Godwin instead. Falling in love with someone through their writing is slow and delicious and sad, like sighing gently over the years at a screen actor, like, say, the guy whose cheekbones and tousle stare out at me from a postcard on my fridge door, and who now stares out from the back cover of A Bright Ray of Darkness, his new novel – Ethan Hawke.
At the start of the third lockdown, I wonder: what if lockdowns suit me? And I worry: shouldn’t it be easier now to understand what they do to my thoughts? Every day, I go out to walk under the bare trees and listen to one of the two albums Taylor Swift made last year: folklore, which came out in July, and evermore, which came out in December. (I’m not the only one: evermore is currently the number one album in the US, and number two in the UK.) The songs are a product of lockdown – Swift wrote them in the blank space that opened up when a tour had to be cancelled – but they are also of lockdown in the way they use a trace of the life before, a line like ‘meet me behind the mall,’ to conjure a world.
One of the puzzling things about feminism is that it can be confused with being self-centred. If it’s good for me, a woman might say of something she wants to do – whether it’s Botox injections, running a country, writing a book or being chronically late – then it’s good for feminism! Sometimes this sort of reasoning is a necessary release; sometimes...
Toril Moi talks to Joanna Biggs about the French philosopher Simone Weil, whose short and uncompromising life became a workshop for her revolutionary ideas about labour, human suffering and the power...
Jenny Turner talks to Joanna Biggs about the history of the Women’s Liberation Movement, the loneliness of feminist work, and the seemingly unavoidable question: How do you think your life compares to...
Joanna Biggs talks to Thomas Jones about the life of Simone de Beauvoir.
Susan Pedersen talks to Joanna Biggs about Shelagh Delaney and her landmark 1958 play, A Taste of Honey.
Nell Dunn and Tessa Hadley talk to Joanna Biggs about fictional representations of women’s everyday lives, as part of our 40th anniversary event series.
Mary-Kay Wilmers and Rosemary Hill join Joanna Biggs and Tom Crewe to talk about the state of our clothes.
Mark Ford, Seamus Perry and Joanna Biggs consider the balance of biography and mythology in Plath’s work, situating her as a transatlantic, expressionist poet of the Cold War.
In our first episode, Patricia Lockwood and John Lanchester join Joanna and Tom to assess the state of the internet, covering podcasts, porn, Twitter, Facebook and their first memories of being online.
Joanna Biggs and Tom Crewe are joined by William Davies and Lorna Finlayson to discuss the state of the nation - the UK - in the age of Brexit. Spoiler: there are no predictions here!
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