CHRIS REVIEWS: Malika Favre, illustrator
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“Her work combines two of my favorite aspects of mathematics and sex: angles and illusions.”
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CHRIS REVIEWS: Chris Riddell and John Vernon Lord (in conversation, 2018)
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We saw Chris Riddell and John Vernon Lord in conversation this evening at The House of Illustration, in Granary Square, behind King’s Cross. They sat side-by-side at the front of a small gallery. Hung about the gallery’s walls, and layed out with care in many cases, were samples of Lord’s work—illustrations of *Ulysses* and *Finnegan’s Wake* and *Alice in Wonderland* and *Humpty Dumpty*, among others. There was an overhead projector between them and on this Riddell flipped through some of Lord’s sketches, pausing to let Lord talk of his work and to ask his own questions.
Read MoreCHRIS REVIEWS: Atlanta (season one, 2016)
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In a horror film, the world is a safe place violated by the presence of a monster. In Atlanta, the world is a scary place where anything can happen.
Read MoreCHRIS REVIEWS: Yuja Wang (in concert at the Barbican, 2018)
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Hello, readers. Every once in a while, we publish a selection from a monthly newsletter Chris writes for Storyological patrons called, CHRIS REVIEWS EVERYTHING. If you'd like to receive this newsletter, and support Storyological in the process, visit our Patreon page to sign up.
Read MoreCHRIS REVIEWS: Kaveh Akbar and Richard Scott (a poetry reading at the london review bookshop, 2018)
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"Kaveh is a tall, floppy-haired man, all lank and torque, who often appears folded up in himself. He seems not always entirely comfortable in his being in this particular body at this particular moment, sort of how a compressed spring always seems to be waiting to explode."
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CHRIS REVIEWS: Ferris Bueller's Day Off (dir. john hughes, 1986)
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The secret is that the film, despite its name, is not really about Ferris at all. It’s not really about a day off, either. It’s about fear. Cameron lives in fear of life. Ferris lives in fear of nothing.
Read MoreCHRIS REVIEWS: Japanese Breakfast, at Islington Assembly Hall (May 2018)
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It is rare to encounter someone quite so buoyant and serious and playful and sweet and dedicated to an honest reckoning with the joy and pain and absurdity of love and loss and I have come, across time and space, to appreciate each encounter with such people all the more.
Read MoreCHRIS REVIEWS: Risky Business (dir. paul brickman, 1983)
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Risky Business opened in 1983, and it features, more or less, all of the hallmarks of an 80’s slasher flick. Ominous synthesizers, empty streets, shadowed faces, terrifying phone calls, autumn leaves skittering across the front lawn. Also, there is a preponderace of teenagers. And a confusion of sex and death and guilt.
Read MoreCHRIS REVIEWS: Amélie (dir. jean-pierre jeunet, 2001)
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Amelie (Audrey Tautou) knows a great deal about the world but very little about how to live in it. Her favorite things include: skipping stones across the St. Martin canal, turning around at the cinema to look at the faces of the audience lit by the screen, and, while buying vegetables from the irascible grocer Collignon, secretly dipping her fingers ever so slowly into his plump bags of legumes. She lives alone with her cat and her dreams of pleasure in a small apartment in Paris. Her neighbors include a delicate old man she imagines to have bones made of glass and a wailing woman lost still in her grief from a love lost long ago.
Read MoreThe Hugo Awards Post: 2017 Edition
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In 2016, we discussed a lot of stories and collections.
Not all of those stories or collections are eligible for the Hugo Awards in 2017. For example, Flannery O’Connor’s story “A Good Man is Hard to Find” is not particularly speculative. Also, it was published in 1953.
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