Lauren Elkin – författare

*Shortlisted for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay*Selected as a Book of the Year 2016 by the Financial Times, Guardian, New Statesman, Observer, The Millions and Emerald Street'Flâneuse [flanne-euhze], noun, from the French. Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities. That is an imaginary definition.'If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse? In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.

An exhilarating, gender-bending walk through the lives of women who are enlivened by cities

*Shortlisted for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay*Selected as a Book of the Year 2016 by the Financial Times, Guardian, New Statesman, Observer, The Millions and Emerald Street'Flâneuse [flanne-euhze], noun, from the French. Feminine form of flâneur [flanne-euhr], an idler, a dawdling observer, usually found in cities. That is an imaginary definition.'If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse? In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’. Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.

'Destined to become a new classic' Chris KrausA dazzlingly original reassessment of women's stories, bodies and art - and how we think about them.For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it?Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body. Weaving daring links between disparate artists and writers – from Julia Margaret Cameron’s photography to Kara Walker’s silhouettes, Vanessa Bell’s portraits to Eva Hesse’s rope sculptures – Lauren Elkin shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political.‘The Susan Sontag of her generation’ Deborah Levy

'Destined to become a new classic' Chris KrausA dazzlingly original reassessment of women's stories, bodies and art - and how we think about them.For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it?Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body. Weaving daring links between disparate artists and writers – from Julia Margaret Cameron’s photography to Kara Walker’s silhouettes, Vanessa Bell’s portraits to Eva Hesse’s rope sculptures – Lauren Elkin shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political.‘The Susan Sontag of her generation’ Deborah Levy

‘Scaffolding is like a perfect French movie of a novel…elegant, original and often very funny’ Kevin Barry, New Statesman Books of the YearTwo couples inhabit the same apartment in Paris, almost fifty years apart…2019. When David takes a job in London, Anna is left alone in their Paris apartment. It’s August and the city is deserted but when Clémentine moves into the building, Anna finds herself drawn inextricably into the younger woman’s world…1972. Florence is finishing her degree in psychology and contemplating pregnancy. But Henry isn’t sure he’s ready for fatherhood and both have distractions outside their marriage…As the two couples face the challenges of marriage and fidelity, the characters and their ghosts bump into and weave around each other, not knowing that they once all inhabited the same space.‘Intelligent, sexy and brilliantly observed’ Stylist‘Atmospheric and evocative’ Observer

‘Scaffolding is like a perfect French movie of a novel…elegant, original and often very funny’ Kevin Barry, New Statesman Books of the YearTwo couples inhabit the same apartment in Paris, almost fifty years apart…2019. When David takes a job in London, Anna is left alone in their Paris apartment. It’s August and the city is deserted but when Clémentine moves into the building, Anna finds herself drawn inextricably into the younger woman’s world…1972. Florence is finishing her degree in psychology and contemplating pregnancy. But Henry isn’t sure he’s ready for fatherhood and both have distractions outside their marriage…As the two couples face the challenges of marriage and fidelity, the characters and their ghosts bump into and weave around each other, not knowing that they once all inhabited the same space.‘Intelligent, sexy and brilliantly observed’ Stylist‘Atmospheric and evocative’ Observer

A dazzlingly original reassessment of the power and plurality of women's singing voices by the critically acclaimed author of Art Monsters and Scaffolding'It took me ten years to go from shy young girl to punk rocker, if I'd had this book I'd have got there much quicker’ Viv AlbertineFor millennia, women’s raised voices have been heard as unruly, uncivilized, dangerous. Women singing were cast as sirens: mythical creatures who lured sailors to their death.In Vocal Break, Lauren Elkin seamlessly blends memoir, feminist manifesto and cultural history to explore a plurality of female singing voices – and how women have used them to defy convention, genre, capitalism, racism and sexism. Drawing on her own experiences training as a young soprano in the 1990s, Elkin reflects on the way power and identity shape our voices, focusing on the women who most excited her when she was learning to sing.A vocal break refers to the place where the voice shifts from lower to higher registers and this is a book about what kind of meanings, and sounds, can be made there. Immersing readers in an eclectic soundscape, from musicals and pop music to art punk, what follows is a full-throated tour of women’s voices, including Édith Piaf, Maria Callas, Cyndi Lauper, Kathleen Hanna, Tori Amos, PJ Harvey, Beyoncé, FKA Twigs and Billie Eilish.Reflecting on what makes women’s singing so powerful – to the point where others feel the need to control or manipulate it – Vocal Break is a joyous call to arms, a siren call:Girls to the front: NOW.

A dazzlingly original reassessment of the power and plurality of women's singing voices by the critically acclaimed author of Art Monsters and Scaffolding'It took me ten years to go from shy young girl to punk rocker, if I'd had this book I'd have got there much quicker’ Viv AlbertineFor millennia, women’s raised voices have been heard as unruly, uncivilized, dangerous. Women singing were cast as sirens: mythical creatures who lured sailors to their death.In Vocal Break, Lauren Elkin seamlessly blends memoir, feminist manifesto and cultural history to explore a plurality of female singing voices – and how women have used them to defy convention, genre, capitalism, racism and sexism. Drawing on her own experiences training as a young soprano in the 1990s, Elkin reflects on the way power and identity shape our voices, focusing on the women who most excited her when she was learning to sing.A vocal break refers to the place where the voice shifts from lower to higher registers and this is a book about what kind of meanings, and sounds, can be made there. Immersing readers in an eclectic soundscape, from musicals and pop music to art punk, what follows is a full-throated tour of women’s voices, including Édith Piaf, Maria Callas, Cyndi Lauper, Kathleen Hanna, Tori Amos, PJ Harvey, Beyoncé, FKA Twigs and Billie Eilish.Reflecting on what makes women’s singing so powerful – to the point where others feel the need to control or manipulate it – Vocal Break is a joyous call to arms, a siren call:Girls to the front: NOW.

If the word flâneur conjures up visions of Baudelaire, boulevards and bohemia – then what exactly is a flâneuse?In this gloriously provocative and celebratory book, Lauren Elkin defines her as ‘a determined resourceful woman keenly attuned to the creative potential of the city, and the liberating possibilities of a good walk’.Part cultural meander, part memoir, Flâneuse traces the relationship between the city and creativity through a journey that begins in New York and moves us to Paris, via Venice, Tokyo and London, exploring along the way the paths taken by the flâneuses who have lived and walked in those cities.From nineteenth-century novelist George Sand to artist Sophie Calle, from war correspondent Martha Gellhorn to film-maker Agnes Varda, Flâneuse considers what is at stake when a certain kind of light-footed woman encounters the city and changes her life, one step at a time.

The Oulipo celebrated its fiftieth birthday in 2010, and as it enters its sixth decade, its members, fans and critics are all wondering: where can it go from here? In two long essays Scott Esposito and Lauren Elkin consider Oulipo's strengths, weaknesses, and impact on today's experimental literature.

'The Susan Sontag of her generation' Deborah LevyThe story of two couples who live in the same apartment in north-east Paris almost fifty years apart.In 2019, Anna, a psychoanalyst, is processing a recent miscarriage. Her husband, David, takes a job in London so she spends days obsessing over renovating the kitchen while befriending a younger woman called Clémentine who has moved into the building and is part of a radical feminist collective called les colleuses.Meanwhile, in 1972, Florence and Henry are redoing their kitchen. Florence is finishing her degree in psychology while hoping to get pregnant. But Henry isn’t sure he’s ready for fatherhood…Both sets of couples face the challenges of marriage, fidelity, and pregnancy. The characters and their ghosts bump into and weave around each other, not knowing that they once all inhabited the same space.A novel in the key of Éric Rohmer, Scaffolding is about the bonds we create with people, and the difficulty of ever fully severing them; about the ways that people we’ve known live on in us; and about the way that the homes we make hold communal memories of the people who’ve lived in them and the stories that have been told there.'Atmospheric and evocative, the prose elegant and poised' Observer

A dazzlingly original reassessment of the power and plurality of women's singing voices by the critically acclaimed author of Art Monsters and Scaffolding'It took me ten years to go from shy young girl to punk rocker, if I'd had this book I'd have got there much quicker’ Viv AlbertineFor millennia, women’s raised voices have been heard as unruly, uncivilized, dangerous. Women singing were cast as sirens: mythical creatures who lured sailors to their death.In Vocal Break, Lauren Elkin seamlessly blends memoir, feminist manifesto and cultural history to explore a plurality of female singing voices – and how women have used them to defy convention, genre, capitalism, racism and sexism. Drawing on her own experiences training as a young soprano in the 1990s, Elkin reflects on the way power and identity shape our voices, focusing on the women who most excited her when she was learning to sing.A vocal break refers to the place where the voice shifts from lower to higher registers and this is a book about what kind of meanings, and sounds, can be made there. Immersing readers in an eclectic soundscape, from musicals and pop music to art punk, what follows is a full-throated tour of women’s voices, including Édith Piaf, Maria Callas, Cyndi Lauper, Kathleen Hanna, Tori Amos, PJ Harvey, Beyoncé, FKA Twigs and Billie Eilish.Reflecting on what makes women’s singing so powerful – to the point where others feel the need to control or manipulate it – Vocal Break is a joyous call to arms, a siren call:Girls to the front: NOW.

A love letter to Paris written in iPhone notes and in the troubling intimacy of public transport post-Charlie Hebdo attacks, Lauren Elkin's diary of a year on a Parisian bus pays homage to Georges Perec and Annie Ernaux. In this chronicle of the ordinary makings of a city and its people, the author's own body is a threatened vessel; that of the author as a woman as an author as a pregnant woman on the bus.