Writer Rachel Cusk shares her thoughts on the difference between literature and the visual arts.
Cusk points out how visual art is “really a socio-economic challenge,” as she puts it. To her, the myth of the artists sacrificing themselves to meet this socio-economic challenge is alive and well. “I think that the space, the socio-economic space, that is all around a painting is harsher than the reality of the object of the book,” she says and continues: “There’s something unchangeable about that. Something completely concrete about that that I find very alluring.”
Rachel Cusk also points out the link between opinions on a broader spectrum and capitalism on the other side. Cusk points out how some publishers determine how good a book is by looking at how many copies are sold. “It’s quite hard for a writer to know what the truth is about their book.” When it comes to visual arts, she says: “People look. And there’s no language for their looking.
Rachel Cusk (b. 1967) is a Canadian-born writer who lives and works in England. Her novels include ‘Saving Agnes’ (1993), ‘The Country Life’ (1997), ‘The Lucky Ones’ (2003), ‘Arlington Park’ (2006), and the Outline Trilogy – ‘Outline’ (2014), ‘Transit’ (2017), ‘Kudos’ (2018) and ‘Parade’ (2024). Cusk is also the author of non-fiction such as ‘A Life’s Work: On Becoming a Mother’ (2001), ‘Aftermath: On Marriage and Separation’ (2012), and ‘Coventry: Essays’ (2019). She received the prestigious Whitbread First Novel Award (1993) and the Somerset Maugham Award (1997).
Rachel Cusk was interviewed by Synne Rifbjerg in connection with the Louisiana Literature festival at the Louisiana Museum of Modern Art in Humlebæk, Denmark.
Camera: Rasmus Quistgaard
Edited and produced by Roxanne Bagheshirin Lærkesen
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024
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