Flower

Ed Atkins

French paperback with flaps, 96 pages
Published 10 April 2025

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‘I like eating cold, clammy wraps from big pharmacies that are open late and sell just a few foods like protein bars and powders.’ Flower is a book of realistic admissions, likes, dislikes, memories and no-brainer observations, treating personal truth as unavailable – something that must be made up and convincing. Taking cues from confessional literature, his daughter’s improvised games, poor internet writing and shitty AI, Ed Atkins, in his first work of non-fiction, equivocates between inanity and divinity, ease and pain, sentimentality and sterility. An anti-memoir, a list, a listless blur – Flower is a highly original, moving and absurd book by one of the most influential artists of his generation, formally inventive and disturbingly of our time.

‘Finally someone is writing about all the food in drugstores. A paean of appreciation to these freakish purveyors of junk is how Atkins launches his amorous, granular unspooling of outrageous drives and appetites. Flower is the kind of book many people dream of writing: kudos to Atkins for getting it on the page.’
— Moyra Davey, author of Index Cards

Flower is propulsive and it doesn’t let up. It’s about vulnerability, sort of, and invincibility: it swings between these poles. It’s about mortality, too, and in that sense humanity. To speak the book back at itself, I confess it did get to me.’
— Isabel Waidner, author of Corey Fah Does Social Mobility

‘I feel like a permanent conduit has been built between my brain and this book. Atkins is relentless, beautiful, hideously and angelically honest. Sometimes it brought me to tears and I’m not even sure why. It’s the stuff most of us leave out, or wouldn’t even know how to articulate. By which I mean this book has made so much other writing feel like propaganda. It’s heroic. I’m not sure I’ll ever recover from it.’
— Luke Kennard, author of Notes on the Sonnets

‘Ed Atkins is a radical humanist who rediscovers the human in the most inhuman of states, when the usual supports – ego, language, people, technology, media, food – all fail. In Flower Atkins turns that abjection towards us, in a spleeny anti-autofiction that is his own version of Les Fleurs du Mal.’
— Hal Foster, author of What Comes After Farce?

Praise for Old Food

‘Violent, emetic, immoderate, improper, impure – that’s to say it’s the real thing. Atkins’ prose, which may not be prose, adheres to Aragon’s maxim “Don’t think – write.”’
— Jonathan Meades

‘Ed Atkins is the artist of ugly feelings – gruesome and smeared and depleted. But everything he does in his videos or paintings, I’ve always thought, he really does as a writer. He uses language as a system where everything gets reprocessed and misshapen – a unique and constant mislaying of tone that’s as dizzying as it’s exhilarating.’
— Adam Thirlwell, author of The Future Future

‘Atkins’ writing spores from the body, scraping through life matter’s nervous stuff, leaving us agitated and eager. What’s appealed to us is an odd mix of mimetic futures. Cancer exists, tattoos, squids, and kissing exist – all felt in the mouth as pulsing questions.’
— Holly Pester, author of The Lodgers

‘Atkins, reflecting on the absence of humans in the exhibition, here favours the visceral impact of associated images and words, pumping the poetry-prose with lines that speak of our primeval instincts, needs and desires, in order to “seek empathic commons.”’
ArtReview

Old Food will eat you up. Ed the head plays a vampire chorus singing of rotten old England, a magic wasteland which comes stuffed with a Supermarket Sweep of sinister flesh, goo, and other putrid treats. What’s that growing in the kitchen sink? Stick the kettle on, love, and feel the sickness descend.’
— Charlie Fox, author of This Young Monster

‘The universe is a rabble of contagion and miasma. The universe is a rabble of spheres, moved by mystical forces. Ed Atkins pokes this condition. He strokes and bursts it. He is the barber who doubles as doctor and dentist, quick with his knife and flushes of blood. No page of Old Food is dry, it seeps with life, it breathes, bleeds, engorges, sticks you together with spit. Like bacterial cells on an errant loaf, Old Food is language in growth.’
— Helen Marten, 2016 Turner Prize winner

‘Whether Old Food is poetry, dystopian fiction, script for an exhibition, metabolic literature or all and other, is up for discussion. What is not is the artist-writer’s limpid poetics, carnal and hungry as the wolf. Atkins’ writing is real and a relief. And if grammar is politics by other means, per Haraway, then so is food – as trope, as lack, as romp, as sustenance.’
— Quinn Latimer, author of Like a Woman

‘T.S. Eliot’s definition of English culture ran right down to ‘boiled cabbage cut into sections’. Ed Atkins scrapes in Cathedral City, battered calamari, excess margarine, peach cobbler, robin heart, Wotsits, mum, dad – and puts it all on a rotary spit of enjambing sentences. His turns of phrase are exceedingly toothsome: ‘buttered, asteroidal crumpets’, ‘the lush, truffled / belch of Superunleaded’, ‘a crush of / neighbours jostling for gratis / crackling’. A post-apocalypse filmed on location in the colon of this country, every moreish page of Old Food is disgusting as a gastropub, the mince of a language going richly off.’
— Jeremy Noel-Tod, editor of The Penguin Book of the Prose Poem

‘A poetic bleak comedy, in which all flesh is carrion and dinner is served, and I can’t help but admire it for its sheer insanity.’
The London Magazine

Ed Atkins is a British artist based in Copenhagen. He is best known for realistic computer-generated videos that expose and scrutinize otherwise unavailable feelings by the profanity of their artifice. In recent years he has presented solo shows at Kunsthaus Bregenz, Martin-Gropius-Bau in Berlin, Castello di Rivoli in Turin, the Stedelijk Museum in Amsterdam and Serpentine Gallery in London, among others, with a survey show at Tate Britain opening in spring 2025. He is the author of A Primer for Cadavers (2016), Old Food (2019) and Flower (2025), all published by Fitzcarraldo Editions.

 

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