![]() ![]() That said, for me the visual means less the information side of things, and more something which is loaded with various registers of the optical – the haptic eye, the sensory eye and so on. Apparently this visuality isn’t universal: I was watching an interview with Susan Sontag, who was talking about how, when she writes, she hears the words rather than sees images. I guess how I write does issue from a sensorial place and it happens very visually. I think it would be a lie to say anything other than that writing fiction is generally a sensory process for me and LOTE was no different. Thank you, Shola, for your time, grace and intellectual generosity throughout the interview!Īs I was reading LOTE, I felt sensorially overwhelmed – it was this really heightened experience and I was wondering, if I felt that reading the novel, what was the process of writing it like? We talked about hyper-aesthetics, trans joy, and mourning in the archive. ![]() ![]() On zoom between Glasgow and Hamburg, Shola and I sat down to discuss LOTE, the novel which inspired my new series, BAROQUE. To open their new guest editorial, BAROQUE, Frankie Dytor talks to award-winning writer, Shola von Reinhold, about their acclaimed novel, LOTE, the radicalism of ornamentality, writing trans characters and the existence of queer Black artists and figures in the archives. ![]()
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