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Fellow Travellers

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Richard Clegg. “An Antidote to Smug Insularity.” Review of The Threshold and the Ledger by Tom McCarthy, Bookmunch, 8 September 2025:

“Before reading Tom McCarthy’s latest literary excursion, I skimmed my notes on Unwords (Dodo Ink) by his literary fellow traveller, Andrew Gallix, the founder of 3:AM Magazine. These two quotations brought to the fore the key aspects of their endeavour: “Replication (read realism) cannot grasp the essence of things,” and, “Written books are sweet but those unwritten are sweeter.” Both writers like writing about imaginary authors, but not yet a modern day Keats. Both have fought a guerrilla-struggle to widen the scope of English fiction. They seek asylum on the European continent, not near Dover. They are serious but comical too.

…Where Gallix strays towards the French, McCarthy veers towards the Greek and Germanic. They form a necessary coalition against the anti-experimentalists who sometimes seem to dwell in a cave of obscure Victorian novels.” 

Tom McCarthy and me, Shakespeare and Company, 2022

Autumn Picks

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Author and librarian Stu Hennigan chooses Loren Ipsum as one of his 5 autumn picks in The Bookseller:

Andrew Gallix is one of the great unsung heroes of the UK literary scene, through his almost two decades fearlessly and tirelessly platforming bleeding-edge new writing as editor of the legendary 3:AM Magazine, and his reputation as an astute, perceptive and incisive critic (as collected in last year’s Unwords). His debut novel is a wild literary thriller in which ‘the death of the author’ is repeatedly taken too literally, as a nihilistic terrorist group slaughters the writers of France for reasons obscure, and a British journalist, Loren Ipsum, becomes embroiled. You’ll need to be on your toes to keep up with this one.

Triangle of Happiness

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Sam Mills, ‘Interior Worlds.” The Carbon Arc, edited by Richard Skinner, Vanguard Editions, 2025, p. 91:

‘Triangle of Sadness is a film I’ve seen many times, though I only have a clear memory of the occasions I’ve seen it with Andrew Gallix. We watched it in the Curzon and more recently on Netflix, sitting in his flat in Paris, his sofa draped with a large cloth with a map of London printed on it, a symbol of wistfulness for the country he misses. Ever since we connected during the pandemic, films have played a part in our relationship. I would not have watched classics by Bresson or Tati without him. In turn, I introduced him to Östlund, to Force Majeure and The Square.’