SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
Class solidarity is no walk in the park
ADAM THERON-LEE RENSCH talks to Mike Quille about what it is to be a working-class writer in the US and patronising perceptions of class that abound left, right and centre
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
MATTHEW HAWKINS pays tribute to the performance artist and costumier, Leigh Bowery
SIMON DUFF reviews a new composition by German composer and pianist Florian Weber that blurs the line between where improvisation ends and composition begins
New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
Can you tell us about the book and why you decided to write it as a memoir?
I was very resistant to writing a traditional memoir, and the first draft of the book included very little personal narrative.
I believe the memoir or “creative nonfiction” genre tends to perpetuate neoliberal narratives that eliminate structural critique in favour of emotional identification. Everything becomes about the writer as an individual: their suffering, their triumph, etc. Who cares about the larger set of social relations that make this possible? What matters is what is moving enough to sell copy. So, I knew I didn’t want to play into this.
At the same time, I realised my life was something of a convenient structure onto which I could hang my critique. I was born in 1984, came of age in the post-9/11 landscape, and internalised the liberal obsession with meritocracy. If I was going to make something of myself, I thought, I had to become educated.
More from this author
MIKE QUILL reports on a lively conference in Barnsley that took stock of working-class access to culture and proposed strategies to embed culture within the trade union movement
MIKE QUILLE relishes political theatre at its most entertaining, engaging and effective
MIKE QUILLE is impressed by the rigorous Marxist approach to be found in a new book on the dialectics of art
Labour’s manifesto proposals for broadening access to culture are initiatives which will enhance the lives of millions, says MIKE QUILLE
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