How to Read

Welcome to In Sacred Spaces, a three-episode series in which we visit spaces around NewClick here for more about the episode...In Sacred Spaces 3: The Pier (with The House of Louboutin)

Welcome to In Sacred Spaces, a three-episode series in which we visit spaces around NewClick here for more about the episode...In Sacred Spaces 2: Grace Congregational Church of Harlem (with Nigel and Lisa Pearce)

Welcome to In Sacred Spaces, a three-episode series in which we visit spaces around NewClick here for more about the episode...In Sacred Spaces 1: St James Presbyterian (With Derrick McQueen)

Reading today is typically silent - whether reading a book in a library or reading messages on our phones, we don’t expect the activity to be noisy. At most, we expect the sound of a page quietly turning. But Andrew Albin is interested in the medieval period, when books made all kinds of sounds. Medieval books were noisy: they crackled and creaked, and were usually read aloud (even in private). Andrew argues that we should think of medieval books not just as objects to look at, but as a kind of musical instrument that needs a reader to bring its sounds to life.

When you think about historical reenactment, you probably think about reenacting Civil War battles or performing a character at a Renaissance fair. But Catherine Grant is interested in artists who use reenactment to ask questions about the history of feminist and queer activism, and the role of artists in political life. By reenacting and remixing scenes from history, these artists revive stories from the past that might illuminate the present in surprising ways. Beyond the realm of art, Catherine wants us to recognize the power of performing repeated actions in our everyday lives.

We may think of reading and writing as opposite activities, but there’s a long history of people reading with blank books by their side so they could write out their favorite passages as they went. Deidre Lynch is interested in what these homemade books can tell us about the people who filled them up. Like someone’s Pinterest board or Tumblr blog today, these curated collections of words told a story about a person’s individual identity. Beyond that, they could also tell the story of relationships within a social group, with many people contributing extracts to a single book.

In the Bible, the Apocalypse is the end of the world as we know it, but it’s also the beginning of a new one. Jennifer Wilks argues that major catastrophes can be apocalyptic in the same way. A disaster like Hurricane Katrina or the COVID-19 pandemic can shed new light on the world’s social inequalities, which makes it easier to imagine them changing. Jennifer thinks that post-apocalyptic fiction can play a role in this process, by allowing us to think ahead about times of disaster so we can act to make things better when the moment comes.

Music can tell stories in a variety of ways: operas and musicals have characters and plots, a song can tell a short story, and even music without words can take listeners on a journey. But Randall Eng is interested in using unexpected texts like photocopier manuals and legal pamphlets to produce musical compositions that tell new stories. By cutting up and rearranging these existing texts – also known as “found texts” – he wants to repurpose the original words to transform their meanings and convey new messages.

During the Cold War, the US and Chinese governments didn’t drop bombs on each other, but they did drop translated works of literature. In fact, national governments put a lot of effort into creating translations that covertly served their political agendas. In the case of the US, this meant emphasizing values like freedom and self-reliance, with which they hoped to win the hearts and minds of Chinese readers. But while propaganda is meant to convey one simple message, Lamyu Maria Bo argues that literature can’t be reduced to a single meaning – and meanings multiply even more in translation.

A one-sided relationship is a bad relationship, right? Not necessarily, says Elaine Auyoung. She’s interested in what are called parasocial relationships, where we know and care a lot about someone but they don’t directly engage with us – like a celebrity, for example, or even a fictional character. While parasocial relationships are often thought of as inferior to regular person-to-person relationships, Elaine argues that they have a unique value. Precisely because there’s no reciprocation, parasocial relationships can allow us to engage with other people’s experiences without the obstacles of social anxiety or self-centredness.