Marina Warner is the author, most recently, of Sanctuary: Ways of Telling, Ways of Dwelling.
Art et Liberté was a movement that came into being in 1938 in Cairo. It was affiliated to Surrealism through contact with André Breton in Paris, and shared Surrealism’s spirit of rebellion and provocation, its desire for dream knowledge and penchant for manifestos. ‘Long live degenerate art’ was the title of its opening blast, printed in Arabic and French...
Last December , in Russia for the first time, I saw a small panel painting in the Hermitage showing The Vision of St Augustine: the saint, in full episcopal fig, is sitting on a riverbank near a child who is scooping up water with a spoon and pouring it into a hole in the sand. According to the story, which is usually set on a beach, the saint is asking the little boy what he thinks...
The dead are hard to think about – and, in many ways, to read about. Unlike animals, which Lévi-Strauss declared were not only good to eat but bon à penser, too, I found that I averted my eyes, so to speak, several times as I was reading this book. Not because of the infinite and irreversible sadness of mortality, or because of the grue, the fetor, the decay, the pervasive morbidity, but because the dead present an enigma that can’t be grasped: they are always there in mind, they come back in dreams, live in memory, and if they don’t, if they’re forgotten as so many millions of them must be, that is even more disturbing, somehow reprehensible.
‘Can you speak Russian? No? So why go to the theatre when you can’t understand a word?’ My challenger (English) was incredulous that I’d asked one of the Russian helpers on the British Council tour, whose mother had been a principal dancer with the Kirov, to find me, if at all possible, a ticket to a play. There was a performance of Anna Akhmatova’s poetry, she’d told me. The legendary Alla Demidova would be performing; the director was Kirill Serebrennikov, a daring force in the Russian avant-garde; and it would be taking place in the Gogol Centre, a former warehouse designed in industrial cool with gorgeous Constructivist lettering that makes the word Гоголь look like the limbs of an Alexandra Exter puppet.
Born from grief, exile, intellectual ferment and the ‘year without a summer’, Frankenstein is a creation myth with its own creation myth. Mary Shelley’s novel is a foundational work...
Marina Warner and Adam Thirlwell look at the ways in which two ferocious works of comic horror, by James Hogg and Mikhail Bulgakov, tackle the challenge of representing fanaticism, be it Calvinism or...
Marina Warner watches Damien Hirst’s butterflies hatch.
Marina Warner and Adam Thirlwell look at the ways in which two ferocious works of comic horror, by James Hogg and Mikhail Bulgakov, tackle the challenge of representing fanaticism, be it Calvinism or...
‘With Potocki,’ Italo Calvino wrote, ‘we can understand that the fantastic is the exploration of the obscure zone where the most unrestrained passions of desire and the terrors of guilt...
In the stories of Franz Kafka we find the fantastical wearing the most ordinary, realist dress. Though haunted by abjection and failure, Kafka has come to embody the power and potential of literary imagination...
Alice’s Adventures in Wonderland and Through the Looking-Glass are strange books, a testament to their author’s defiant unconventionality. Through them, Lewis Carroll transformed popular culture,...
Marina Warner delivers her lecture on Emily Davison’s legacy as the suffragettes’ first martyr.
Marina Warner shows how higher education in the UK has been betrayed, in her 2015 LRB Winter Lecture.
There can be no new reader, and therefore perhaps no wholly new reading of the collection of stories known as The Arabian Nights. Not because they have been exhausted by retelling and...
A memorable image in Robert Musil’s Man without Qualities likens the impact of a certain character to that of a powdery avalanche. The effect of reading Marina Warner’s magisterial...
Marina Warner’s No Go the Bogeyman: Scaring, Lulling and Making Mock is an impossible book. It circles around monsters and the frightening of children, but it also has chapters on the...
If women are the ones who tell fairy tales, why do fairy tales paint such ugly pictures of women? Or, as Marina Warner puts it, ‘If and when women are narrating, why are the female...
In his last days, the exiled and ageing Aristotle wrote to a friend: ‘The lonelier and the more isolated I am, the more I have come to love myths.’ We may puzzle over what Aristotle meant....
The British, a nation of Sancho Panzas, like to dream of governing an island. The majority of ideal states both ancient and modern have been imaginary cities rather than sea-girt lumps of rock,...
Nobody could call Frank Honigsbaum’s book ‘user friendly’. Some reasons for its indigestibility are inherent in the topic: the moves, some effective, most frustrated, by civil...
Here, in these three novels, are three representations of the state of the art. In The Satanic Verses the narrator, who may or may not be the Devil, confides that ‘what follows is tragedy....
The psychologist John Layard – ‘Loony Layard’, as he is affectionately termed in one of Auden’s early poems – is said to have told a submarine officer that he had...
A new novel by Günter Grass invites comparisons of a national kind. If a British writer of fiction wished to engage with the big stories of the day – the kind of thing Brian Walden...
In 1870, Daumier drew a cartoon of soldiers filing past a monument of the fatherland, with the caption: ‘Ceux qui vont mourir te saluent.’ Wandering about quiet French churches, one...
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.
For highlights from the latest issue, our archive and the blog, as well as news, events and exclusive promotions.