Fiction
I Remember Beirut
Contributor
Zeina AbirachedZeina Abirached was born in 1981 in Beirut, Lebanon. She studied at the Académie Libanaise des Beaux-Arts (ALBA) in Beirut and at the École Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris. The main subject of her work has been the Lebanese Civil War. Mourir, partir, revenir: Le jeu des hirondelles was published in English translation as A Game for Swallows: To Die, To Leave, To Return (Graphic Universe/Lerner Books, 2012), for which it received a French Voices grant. I Remember: Beirut will also be published in English by Lerne Books, in 2014. She currently lives in Paris, where she continues to draw comics. She will attend the Brooklyn Book Festival in September 2013.
RECOMMENDED ARTICLES
‘The Work Is Never Done’ at MoMA: enacting and obscuring archives
By Benedict NguyenDEC 18-JAN 19 | Dance
Beyond the title itself, there’s something about the Museum of Modern Art (MoMA)’s exhibition Judson Dance Theater: The Work is Never Done, running from mid-September 2018 to early February 2019, that brought up meta thoughts about what work I’m doing. What could this writing, this work, do?
inSerial: part one
The Mysteries of Paris
by Eugène Sue, translated from the French by Robert Bonnono
SEPT 2018 | Fiction
Eugène Sue owed his immense popularity to the series of sensational novels of Parisian low life, which he began in 1842 with Les Mystères de Paris (The Mysteries of Paris). The book appeared as a serial novel, or feuilleton, in the conservative newspaper Le Journal des Débats. The Mysteries of Paris provided its readers with an examination of working-class and criminal Paris that no novel had until then portrayed. Sue’s book, with its portraits of prostitutes, criminals, and villains of all stripes, who speak in their own language and move about in their own milieu, caused a scandal upon its release. Unlike his contemporaries, in The Mysteries of Paris Sue abandoned the drawing rooms of the beau monde for the dive bars and cabarets of central Paris, Ile de la Cité, where the story is set.
Roderic O’Conor and the Moderns. Between Paris and Pont-Aven
By William DavieOCT 2018 | ArtSeen
If curators Jonathan Benington and Brendan Rooney are right and it is time for a re-evaluation of Roderic O’Conor’s oeuvre, then the case they put forward in Roderic O’Conor and the Moderns: Between Paris and Pont-Aven, on view at the National Gallery of Ireland in Dublin, is certainly a captivating one–but not entirely without its pitfalls.
Al Held in Paris: 1952-53
By Tom McGlynnJUNE 2018 | ArtSeen
Al Held moved to Paris in 1949 where he was part of a loose-knit expatriate community of American painters that included Joan Mitchell and Sam Francis.
