Noreen Masud – författare

This volume argues that aphorism represents a tool for the social management of emotion. Rhetorically corralled into a slick, collectable shape, the aphorism promises arresting and instantaneous epiphany. However, the accomplished elegance which positions the aphorism''s message as self-evidently true in fact works to repel further enquiry, and ultimately ensures that it will be forgotten or bypassed in favour of another aphorism: no less eagerly embraced for the earlier disappointment. Aphorism, therefore, is a form in which dangerous ideas and emotions can be safely displayed and, simultaneously, effaced. Because aphorism''s style defuses the imperative to act on what is clearly known, writers like Stevie Smith can use the form to stage a withdrawal from the burden of making an impact on the world.This book finds that Smith''s use of aphorism and its related forms (proverb, epitaph, caption, and fragment) offers a route into her texts. With her disconcerting pen-and-ink drawings, dark comedy, and social ventriloquism which stops short of satire, the rhetorical force of Smith''s poetry fascinates and arrests its readers, but nevertheless leaves them unable to react coherently or identify the use-value which her writing appears to promise. Drawing on hitherto unpublished archival material, this project argues that Smith''s texts resist analysis because, like the aphorisms embedded throughout them, they offer and exemplify a mode of clearly-declared revelation which, at the same time, makes itself unusable.

This volume argues that aphorism represents a tool for the social management of emotion. Rhetorically corralled into a slick, collectable shape, the aphorism promises arresting and instantaneous epiphany. However, the accomplished elegance which positions the aphorism''s message as self-evidently true in fact works to repel further enquiry, and ultimately ensures that it will be forgotten or bypassed in favour of another aphorism: no less eagerly embraced for the earlier disappointment. Aphorism, therefore, is a form in which dangerous ideas and emotions can be safely displayed and, simultaneously, effaced. Because aphorism''s style defuses the imperative to act on what is clearly known, writers like Stevie Smith can use the form to stage a withdrawal from the burden of making an impact on the world.This book finds that Smith''s use of aphorism and its related forms (proverb, epitaph, caption, and fragment) offers a route into her texts. With her disconcerting pen-and-ink drawings, dark comedy, and social ventriloquism which stops short of satire, the rhetorical force of Smith''s poetry fascinates and arrests its readers, but nevertheless leaves them unable to react coherently or identify the use-value which her writing appears to promise. Drawing on hitherto unpublished archival material, this project argues that Smith''s texts resist analysis because, like the aphorisms embedded throughout them, they offer and exemplify a mode of clearly-declared revelation which, at the same time, makes itself unusable.

This volume argues that aphorism represents a tool for the social management of emotion. Rhetorically corralled into a slick, collectable shape, the aphorism promises arresting and instantaneous epiphany. However, the accomplished elegance which positions the aphorism's message as self-evidently true in fact works to repel further enquiry, and ultimately ensures that it will be forgotten or bypassed in favour of another aphorism: no less eagerly embraced for the earlier disappointment. Aphorism, therefore, is a form in which dangerous ideas and emotions can be safely displayed and, simultaneously, effaced. Because aphorism's style defuses the imperative to act on what is clearly known, writers like Stevie Smith can use the form to stage a withdrawal from the burden of making an impact on the world.This book finds that Smith's use of aphorism and its related forms (proverb, epitaph, caption, and fragment) offers a route into her texts. With her disconcerting pen-and-ink drawings, dark comedy, and social ventriloquism which stops short of satire, the rhetorical force of Smith's poetry fascinates and arrests its readers, but nevertheless leaves them unable to react coherently or identify the use-value which her writing appears to promise. Drawing on hitherto unpublished archival material, this project argues that Smith's texts resist analysis because, like the aphorisms embedded throughout them, they offer and exemplify a mode of clearly-declared revelation which, at the same time, makes itself unusable.

SHORTLISTED FOR THE SUNDAY TIMES YOUNG WRITER OF THE YEAR AWARD 2024SHORTLISTED FOR THE WOMEN’S PRIZE FOR NON-FICTION 2024Raw and radical, strange and beguiling - a love letter to Britain's breathtaking flatlands, from Orford Ness to Orkney, and a reckoning with the painful, hidden histories they contain'Expansive and arresting' Financial Times'Sharp, subtle and very moving' Robert MacfarlaneNoreen Masud has always loved flat landscapes - their stark beauty, their formidable calm, their refusal to cooperate with the human gaze. They reflect her inner world: the 'flat place' she carries inside herself, emotional numbness and memory loss as symptoms of childhood trauma. But as much as Britain's landscapes provide solace for suffering, they are also uneasy places for a Scottish-Pakistani woman, representing both an inheritance and a dispossession.Pursuing this paradox across the wide open plains that she loves, Noreen weaves her impressions of the natural world with the poetry, folklore and history of the land, and with recollections of her own early life, rendering a startlingly strange, vivid and intimate account of a post-traumatic, post-colonial landscape - a seemingly flat and motionless place which is nevertheless defiantly alive.'Beautifully written and elegantly constructed' Kamila Shamsie'A Flat Place reminds us that there is hope in the smallest of gestures' Sara AhmedSHORTLISTED FOR THE JHALAK PRIZE 2024SHORTLISTED FOR THE ONDAATJE PRIZE 2024SHORTLISTED FOR THE BOOKS ARE MY BAG READERS AWARD 2024BOOK OF THE YEAR 2023 ACCORDING TO THE GUARDIAN, SUNDAY TIMES, NEW YORKER

SHORTLISTED FOR THE SUNDAY TIMES YOUNG WRITER OF THE YEAR AWARD 2024SHORTLISTED FOR THE WOMEN’S PRIZE FOR NON-FICTION 2024Raw and radical, strange and beguiling - a love letter to Britain's breathtaking flatlands, from Orford Ness to Orkney, and a reckoning with the painful, hidden histories they contain'Expansive and arresting' Financial Times'Sharp, subtle and very moving' Robert MacfarlaneNoreen Masud has always loved flat landscapes - their stark beauty, their formidable calm, their refusal to cooperate with the human gaze. They reflect her inner world: the 'flat place' she carries inside herself, emotional numbness and memory loss as symptoms of childhood trauma. But as much as Britain's landscapes provide solace for suffering, they are also uneasy places for a Scottish-Pakistani woman, representing both an inheritance and a dispossession.Pursuing this paradox across the wide open plains that she loves, Noreen weaves her impressions of the natural world with the poetry, folklore and history of the land, and with recollections of her own early life, rendering a startlingly strange, vivid and intimate account of a post-traumatic, post-colonial landscape - a seemingly flat and motionless place which is nevertheless defiantly alive.'Beautifully written and elegantly constructed' Kamila Shamsie'A Flat Place reminds us that there is hope in the smallest of gestures' Sara AhmedSHORTLISTED FOR THE JHALAK PRIZE 2024SHORTLISTED FOR THE ONDAATJE PRIZE 2024SHORTLISTED FOR THE BOOKS ARE MY BAG READERS AWARD 2024BOOK OF THE YEAR 2023 ACCORDING TO THE GUARDIAN, SUNDAY TIMES, NEW YORKER