Sam Haddow

November 2009

Protest as performance

It was a shame we didn’t see the Shirleys again, as their upskittling shenanigans had us laughing, then in true Brecht/Frisch style, asking ‘Why are we laughing at this; and why are we laughing at it here?’ They made us uncomfortable. Shouldn’t we feel uncomfortable? Isn’t that, to some extent, the point?

June 2008

The Emergence of Social Space

Ross constructs a highly persuasive argument that the 1871 commune, with Rimbaud’s poetry at the centre, should be observed from a spatial critique, with some startlingly comprehensible results.

March 2008

So we are not disappeared

In 2005 during a two month trip around Argentina, I visited the Plaza de Mayo in Buenos Aires, on a Thursday afternoon. The Plaza de Mayo is a large, official, elegant square surrounded by large, official, elegant buildings, with the long pink house of the Argentine government along one side. On this particular visit the number of armed guards seemed to have doubled, and a number of women wearing white scarves were gathered in a group.

The choice between surviving and dying

First things first. Random House needs a severe admonishment for the presentation of this novel. If I’d seen Refusal in its current incarnation on the shelves in a bookshop, I would have passed it by and never thought about it. This needs to be seen to.

February 2008

Veronica

Veronica is a novel ostensibly centring on the relationship between two dysfunctional women – a naïve model and an eccentric proof reader – in 1970s and 80s New York. Elizabeth, the protagonist, narrates the action from middle age, long after Veronica’s death and well into her own debilitating loss of limb, wreck of career, and affliction with hepatitis.

Fiction
October 2007

Darkmans - Booker 2007

Barker’s paranoia is revealed as history itself, and her fluid perspective is temporal, skittering up and down the centuries, making arbitrary connections between characters separated by aeons, and generating baffling laws of series to which the narrative continually cross refers.

Fiction
June 2007

Arlington Park - Orange prize 2007 SHORTLISTED

‘Elegant’ is something Cusk almost pulls off, but it’s always overshadowed. A nice passage about an oversized kitchen that vaguely echoes a Tom Wolfe-style ‘dog-eat-dog-eat-possession’ paranoia is ruined by a dreadful internal monologue about personal failure.

Fiction
April 2007

A Concise Chinese-English Dictionary For Lovers - Orange Prize 2007 SHORTLISTED

Z has managed an emancipation which has enabled her to see all human interaction as belonging to discourse – merely a matter of choice. This choice has led her (and the reader) through an odyssey which feels a good deal more intimate than its pan-continental scope would suggest.

Fiction
March 2007

Fragments

It is always tempting to imagine Jean Baudrillard preparing to write a book by sharpening an axe, swinging it into his computer monitor, then gluing the shattered pieces to a celluloid film reel, projecting it to a crowded room full of admirers and absolutely forbidding them to take it seriously.

Dirty Work

Oksana is a Russian teenager who was lured to Europe under the promise of a better life, and Hope is a spoilt English girl. The alternating narrative voice is fine when the two characters are racing to their inevitable collision, but when they’re sharing a bed in a room with two freebasing Estonian prostitutes?

Fiction

Culture Wars was included in creativetourists’ Top 25 UK Arts & Culture Blogs 2009.