Thomas Jones

Thomas Jones edits the LRB blog and presents the paper’s podcast. He has been writing for the LRB since 1999, when he was an editorial assistant. Many of his pieces have been Short Cuts. Most of the others have been on contemporary fiction, though he has also written on Romantic poetry, the ancient Greeks and Romans, the climate crisis and Italian politics. He has lived in Italy since 2006. Game Theory, a novel, was published in 2018.

On Top of Everything: Byron

Thomas Jones, 16 September 1999

Once more upon the waters! yet once more! And the waves bound beneath me as a steed That knows his rider.

Thought-Quenching: Q and China Miéville

Thomas Jones, 7 January 1999

Leaping around in a warehouse to the rhythms of repetitive beats and thumping basslines is a simple pleasure, though not, of course, to everyone’s taste. At the same time it is a tremendously difficult sensation to convey in writing, partly because it is so simple: the most basic feelings, experienced at a pre-verbal level, are by their nature the hardest to verbalise. The primary difficulty facing anyone who wishes to write creatively (rather than critically) about dance music is how to translate music into language: to evoke, rather than merely describe, the experience of the dancer. Browning, a master of this kind of translation between art forms, wrote to Ruskin in 1855 about the problem of articulating pre-verbal ideas: ‘I know that I don’t make out my conception by my language … You would have me paint it all out, which can’t be; but by various artifices I try to make shift with touches and bits and outlines which succeed if they bear the conception from me to you.’ The idiom of the record sleeve is one option open to writers of club fiction: China Miéville concludes his acknowledgments in King Rat with ‘awe and gratitude especially to A Guy Called Gerald for the sublime Gloc: old, now, but still the most terrifying slab of guerrilla bass ever committed to vinyl. Rewind.’ In the central club episode of Deadmeat, Q writes of a DJ’s music that it is not ‘a tight cosy rinse, but an intense traumatic soak that ripped through the senses … a hybrid of dancehall drum’n’bass and abstract sounds that kicked at over 160 beats per minute on a transglobal vibe’. Fine for the initiate, but not much good for anyone else; like all jargon, it is exclusive. Fortunately, both writers use it sparingly.‘

Letter

Sonic Boom

16 July 1998

An article by Martin Amis in the Guardian earlier this year touches on John Sturrock’s review of Sokal and Bricmont (LRB, 16 July). After observing the relationship between the speed of a car and the damage inflicted on a body struck by that car, Amis claims that he ‘finally understood’ E=mc2. His remarkable failure to understand Einstein’s equation and apparent ignorance of...

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