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Granta: The Magazine of New Writing #164
Granta 164: Last Notes
Granta's summer issue will be themed around sound, music, silence and war. From established voices to debut novelists, Britain's most prestigious literary magazine brings you the best new writing from around the world. Featuring non-fiction by Lydia Davis, Peter Englund (tr. Sigrid Rausing) Diana Evans, Wiam El-Tamami, Tabitha Lasley, Adèle Rosenfeld (tr. Jeffrey Zuckerman), Anjan Sundaram, Ed Vulliamy, Ada Wordsworth. Fiction by Nicola Barker and Mazen Maarouf, poetry by Oluwaseun Olayiwola and Martha Sprackland. Photography by James Bennington, Sama Beydoun and Suzie Howell.
- GenresNonfiction
Paperback
Published September 5, 2023
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About the author
Sigrid Rausing
45 books52 followersSigrid Rausing is Editor and Publisher of Granta magazine and Publisher of Granta and Portobello Books. She is the author of History, Memory and Identity in Post-Soviet Estonia: The End of a Collective Farm and Everything is Wonderful, which has been translated into four different languages.
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Displaying 1 - 16 of 16 reviews
July 29, 2023
Whilst I was underwhelmed by many of pieces in this issue there were 2 outstanding essays.
Maartje Scheltens makes connections between a performance of Steve Reich's "Four Organs" and it's unrelenting repetition of variations on the same chord over 19 minutes and her experiences as both a life model and, later in life, the recipient of treatment for cancer.
Y-Dang Troeung's writes movingly and with barely suppressed anger in "Kapok Tree" about Cambodia's suffering under the Khmer Rouge and afterwards the United States insistence on repayment of their debt.
Maartje Scheltens makes connections between a performance of Steve Reich's "Four Organs" and it's unrelenting repetition of variations on the same chord over 19 minutes and her experiences as both a life model and, later in life, the recipient of treatment for cancer.
Y-Dang Troeung's writes movingly and with barely suppressed anger in "Kapok Tree" about Cambodia's suffering under the Khmer Rouge and afterwards the United States insistence on repayment of their debt.
March 10, 2024
Issue 164, ‘Last Notes’, was the editor Sigrid Rausing’s swan song. The theme of the issue music, sound and silence runs subtly through all the pieces, but the overwhelming impression of the issue is one of war and authoritarian rule.
This issue is not about literary virtuosity or experimental forms, but it does contain a great deal of empathy and pathos that is sure to move you, and has a need to be said at this point in time. It’s predominantly non-fiction, but even the fiction reads like non-fiction or memoir and there’s only three relatively short poems.
When I was young, the evening’s televised news would talk of death, Pol Pot, Phnom Penh, bombing, torture and the Khmer Rouge. These were names or abstract concepts I had no knowledge or conception of. It was not until I was much older that I understand the cruelty of war and authoritarianism that had occurred in Cambodia during the 70s.
‘The Soundscapes of ‘Phnom Penh’ by Anjan Sundaram, is a moving auricular exposé of the war and also the abuse of human rights, but I found the last piece ‘Mute Tree’ by Y-Dang Troeung even more impressive. It tells how the incessant bombardments affected the common man and his subsistence and survival. It follows the theme of the issue without reference to music or strictly speaking sound. The cruel protagonists of the piece are the shockwaves of the exploding bombs from incessant bombardments and the craters they left behind that pockmark fields.
‘Bombs break nature apart. They pound and pummel the earth far outside the natural cycles of life. Ending lives and maiming bodies, bombs are the antithesis to what the seed (of the native kapok tree) embodies …’
Unfortunately, the war in Ukraine is unavoidable and there are a few key pieces here. More graphic than in the writing of Cambodia is the incalculable brutality, damage and human suffering. I’m unsure why it’s more graphically expressed. I suppose, unlike Cambodia the war in Ukraine is ongoing and maybe time internalises the immediate horrors converting them into deep rooted odium that seethes beneath the surface. By it’s nature an ongoing war can’t do this; emotions are raw and on the surface. The hatred that’s set aside for Russia by Ukrainians, is visceral and immediate, spontaneous and uncomplicated.
Outside war, there are notable pieces, firstly ‘Endurance’ by Maartje Scheltens, who describes a minimalist concert piece of a single note. It’s the contrary to Phillip Glass’s 4’33. She describes audiences hostility but gentle deflects criticism with a description of a recent recital in a measured way and with a lot of charm. Scheltens draws a curious analogy with her previous nude posing for artists; it then shifts seamlessly to the similarity with yoga, cancer treatment, then torture, finally rebellion and acquiescence, though not forgetting its similarity to an MRI scanner. Apart from being uniquely interesting, t’s an outstandingly thought-out piece of writing.
‘But isn’t this in poor taste (comparison to torture)? How can we call the experience of listening to or playing a twenty-minute piece of music torture when we think of the real pain in the world? When we willingly put ourselves through a discomfort we know to be temporary, to act out endurance, what are we trying to prove to ourselves?’
Also ‘A Life Where Nothing Happens’ is one of those pieces in the issue that is slated as fiction but reads like personal memoir. Mazen Maarouf weaves a delightful tale of his childhood relationship with his father. I found it similar to a lot of contemporary Arabic writing, absolutely joyful, equably written, almost like a contemporary fairy tale.
This issue is perhaps a little different from its predecessors, but in Europe we live in difficult times and this is an invaluable and unique record of that
This issue is not about literary virtuosity or experimental forms, but it does contain a great deal of empathy and pathos that is sure to move you, and has a need to be said at this point in time. It’s predominantly non-fiction, but even the fiction reads like non-fiction or memoir and there’s only three relatively short poems.
When I was young, the evening’s televised news would talk of death, Pol Pot, Phnom Penh, bombing, torture and the Khmer Rouge. These were names or abstract concepts I had no knowledge or conception of. It was not until I was much older that I understand the cruelty of war and authoritarianism that had occurred in Cambodia during the 70s.
‘The Soundscapes of ‘Phnom Penh’ by Anjan Sundaram, is a moving auricular exposé of the war and also the abuse of human rights, but I found the last piece ‘Mute Tree’ by Y-Dang Troeung even more impressive. It tells how the incessant bombardments affected the common man and his subsistence and survival. It follows the theme of the issue without reference to music or strictly speaking sound. The cruel protagonists of the piece are the shockwaves of the exploding bombs from incessant bombardments and the craters they left behind that pockmark fields.
‘Bombs break nature apart. They pound and pummel the earth far outside the natural cycles of life. Ending lives and maiming bodies, bombs are the antithesis to what the seed (of the native kapok tree) embodies …’
Unfortunately, the war in Ukraine is unavoidable and there are a few key pieces here. More graphic than in the writing of Cambodia is the incalculable brutality, damage and human suffering. I’m unsure why it’s more graphically expressed. I suppose, unlike Cambodia the war in Ukraine is ongoing and maybe time internalises the immediate horrors converting them into deep rooted odium that seethes beneath the surface. By it’s nature an ongoing war can’t do this; emotions are raw and on the surface. The hatred that’s set aside for Russia by Ukrainians, is visceral and immediate, spontaneous and uncomplicated.
Outside war, there are notable pieces, firstly ‘Endurance’ by Maartje Scheltens, who describes a minimalist concert piece of a single note. It’s the contrary to Phillip Glass’s 4’33. She describes audiences hostility but gentle deflects criticism with a description of a recent recital in a measured way and with a lot of charm. Scheltens draws a curious analogy with her previous nude posing for artists; it then shifts seamlessly to the similarity with yoga, cancer treatment, then torture, finally rebellion and acquiescence, though not forgetting its similarity to an MRI scanner. Apart from being uniquely interesting, t’s an outstandingly thought-out piece of writing.
‘But isn’t this in poor taste (comparison to torture)? How can we call the experience of listening to or playing a twenty-minute piece of music torture when we think of the real pain in the world? When we willingly put ourselves through a discomfort we know to be temporary, to act out endurance, what are we trying to prove to ourselves?’
Also ‘A Life Where Nothing Happens’ is one of those pieces in the issue that is slated as fiction but reads like personal memoir. Mazen Maarouf weaves a delightful tale of his childhood relationship with his father. I found it similar to a lot of contemporary Arabic writing, absolutely joyful, equably written, almost like a contemporary fairy tale.
This issue is perhaps a little different from its predecessors, but in Europe we live in difficult times and this is an invaluable and unique record of that
April 14, 2025
Recently I finally managed to give away to an appreciative home about 100 issues of Granta that have been sitting on a shelf for 25 years. Then — go figure — I bought this issue. Only because I liked the idea that it was about music.
Like most reviewers here, by far my favourite piece was Maartje Scheltens’ “Endurance” — brilliant, evocative writing about music and the experience of listening to it. I also appreciated Ed Vulliamy’s reportage on music in Ukraine. Nicola Barker’s “TonyInterruptor” was amusing. The lows were Lydia Davis's utterly meritless journal entries, and Bryan Washington’s “Family Meal”. I didn’t like any of the drab photography except a couple of James Berrington’s. Otherwise a bit meh.
Like most reviewers here, by far my favourite piece was Maartje Scheltens’ “Endurance” — brilliant, evocative writing about music and the experience of listening to it. I also appreciated Ed Vulliamy’s reportage on music in Ukraine. Nicola Barker’s “TonyInterruptor” was amusing. The lows were Lydia Davis's utterly meritless journal entries, and Bryan Washington’s “Family Meal”. I didn’t like any of the drab photography except a couple of James Berrington’s. Otherwise a bit meh.
December 8, 2023
Didn't love everything in here, but there was some really good stuff (the Ukraine War reportage and the story by Brian Washington stick out, plus the writing/photos about Tymawr Convent).
October 23, 2023
The theme of this issue - Last Notes - is evocative of music, soundscapes, death and finality, all of which abound throughout the pages.
Ukraine features heavily, most interestingly in a deep-dive into music in the region by Ed Vulliamy. But also Peter Englund's reports from the front - did you know Ukrainians refer to the turrets of tanks as lollipops, because that's what they look like sat at the roadside once blown up?
Other notable pieces:
- Tabitha Lalsey's recounting of a romance with another writer, and wrestling with what his motivations are. Wonderfully claustrophobic.
- Anjan Sundaram's exploration of the soundscapes of Phnomh Penh and fleeing the state as it becomes more authoritarian (not the only piece on Cambodia, with another from Y-Dang Troeung focusing on the silent wounds of the civil war with some lovely imagery)
- Maartje Scheltens exploring endurance - of a difficult musical performance, modelling nude for art classes, cancer treatment - which is incredibly human and moving. My highlight of the issue.
- A richly realised fictional world containing TonyInterruptor from Nicola Barker
Ukraine features heavily, most interestingly in a deep-dive into music in the region by Ed Vulliamy. But also Peter Englund's reports from the front - did you know Ukrainians refer to the turrets of tanks as lollipops, because that's what they look like sat at the roadside once blown up?
Other notable pieces:
- Tabitha Lalsey's recounting of a romance with another writer, and wrestling with what his motivations are. Wonderfully claustrophobic.
- Anjan Sundaram's exploration of the soundscapes of Phnomh Penh and fleeing the state as it becomes more authoritarian (not the only piece on Cambodia, with another from Y-Dang Troeung focusing on the silent wounds of the civil war with some lovely imagery)
- Maartje Scheltens exploring endurance - of a difficult musical performance, modelling nude for art classes, cancer treatment - which is incredibly human and moving. My highlight of the issue.
- A richly realised fictional world containing TonyInterruptor from Nicola Barker
Read
September 1, 2023Really good thematically, many of the essays and stories revolve around music and sound. I felt at one point, that Granta might be exploiting the pathos available in the tragedy and horror of brazen invasion of Ukraine, but the 3 pieces on experiences in the nation are moving and insightful. There are a couple works centering on Cambodia and the math and aftermath of the Khmer Rouge. It is nearly 50 years since that inhumanity.Y-Dang Troeung write powerfully.
I enjoyed Adèle Rosenfeld’s The Tide about loss of hearing, Endurance by Maartje Scheltens about listening strenuous listening. Mazen Maarouf, Wiam El-Tamani, Lydia Davis, Martha Sprackland’s poem, and Diana Evans were all engaging. The photo essays, and Brian Dillon writing about early drum machines were, at least, interesting.
Nicola Barker’s TonyInterruptor was brilliant! I mean, she quotes Mark E. Smith!
I enjoyed Adèle Rosenfeld’s The Tide about loss of hearing, Endurance by Maartje Scheltens about listening strenuous listening. Mazen Maarouf, Wiam El-Tamani, Lydia Davis, Martha Sprackland’s poem, and Diana Evans were all engaging. The photo essays, and Brian Dillon writing about early drum machines were, at least, interesting.
Nicola Barker’s TonyInterruptor was brilliant! I mean, she quotes Mark E. Smith!
December 28, 2023
Mostly meh nonfiction reporting on the war in ukraing but 2 very fine pieces towards the end; Maartje Scheltens "Endurance" that uses Steve Reich's minimalist drone "Four Organs" to examine "the experience of endurance" during her cancer treatments. Y-Dang Troeung wonderful piece Mute Tree looks at the trauma endured in Cambodia during recent history. Nicola Barker's Tonyinterruptor ws a cute look at "honesty" via a snobby heckler at a free jazz concert.
February 18, 2024
I didn't read the Ukraine pieces and it sounds bad to dismiss writing about such a cataclysmic event but I've had enough of this news which will only stop when Putin is shot dead. The best stuff is to do with music and the item on Four Organs inspired me to go to YouTube and hear it for myself. Mmmm.
Best of all was Nicola Baker's piece. Made me laugh, made me think, made me reserve one of her books at the library. Can't say better than that.
Best of all was Nicola Baker's piece. Made me laugh, made me think, made me reserve one of her books at the library. Can't say better than that.
October 3, 2023
Not my favorite Granta. With a few exceptions these are all ego documents/ documentary writing. The exceptions - for me - are a beautiful piece from Adèle Rosenberg about her deafness, an essay about music by Brian Dillon and Diana Evans about dancing and her dancing career. These are also the more literary minded works or the best written.
September 19, 2024
This is one of the most frustrating things I’ve ever read, certainly the most frustrating issue of Granta. Every piece in here, even the ones I liked, irritated me on some level. Many of the pieces, even when good, felt self-indulgent. Highlights were Tabitha Lasley’s One Day It Will Make Sense and Diane Evans’ Once a Dancer.
September 9, 2023
Excellent.
From the music during wartime in Ukraine to the slow loss of one's hearing to what it means to dance again after retiring as a professional. Sigrid's last issue as editor is a fitting coda.
From the music during wartime in Ukraine to the slow loss of one's hearing to what it means to dance again after retiring as a professional. Sigrid's last issue as editor is a fitting coda.
October 3, 2023
Favourite:
Endurance (Maartje Scheltens)
Other favourites:
1. Reports from the front: Winter 2023 (Peter Englund)
2. Plainsong (Suzie Howell)
3. One Day It Will All Make Sense (Tabitha Lasley)
4. The Soundscape of War (Ada Wordsworth)
Endurance (Maartje Scheltens)
Other favourites:
1. Reports from the front: Winter 2023 (Peter Englund)
2. Plainsong (Suzie Howell)
3. One Day It Will All Make Sense (Tabitha Lasley)
4. The Soundscape of War (Ada Wordsworth)
October 11, 2023
The current editor’s swan song is a collection about transitions: framed in contexts of war, peace, solitude, sex, death, and everything in between. There are moments of grief and sadness that capture the feeling of despair in great writing, but a few glimpses of hopeful reflection as well.
October 23, 2023
This probably the most enjoyable issue of those I've read, with Adam Mars-Jones 'Porosity' of particular interest, and several on the effects of war upon one's home space absorbing and thought-provoking. In others, my lack of musical knowledge prevented my appreciating them fully.
August 24, 2023
Very good stories and essays by Maartje Scheltens, Nicola Barker and Y-Dang Troeng. Adele Rosenfeld’s The Tide was also nice.
March 7, 2024
Mijn favoriete stukken waren "Family Meal" van Bryan Washington en "One Day It Will all Make Sense" van Tabitha Lasley.
Middelmatig nummer wat mij betreft.
Middelmatig nummer wat mij betreft.
Displaying 1 - 16 of 16 reviews