Key, Alys (30 July 2020). "Eliza Clark's impressive debut, Boy Parts, has shades of Fight Club and American Psycho". inews.co.uk. Cummins, Anthony (24 June 2023). "Eliza Clark: 'I'm more primary school teacher than enfant terrible' "– via The Guardian.

Stanford, Eleanor (21 September 2023). "A 'Really Online' Writer Looks Beyond the Internet"– via NYTimes.com. But the format has its limitations. Toward the end of the show, there is a climactic scene in a gallery where Irina exhibits the photographs we’ve been watching her create. It’s an event that can make or break her career, and the place is meant to be teeming with people, but Kelly’s aloneness on the stage feels too palpable. Moreover, the production is poorly paced, and the gallery scene feels rushed, which exacerbates a sense of anticlimax. After all that leisurely buildup, the play’s momentum fizzles out in a matter of minutes. Abuse in the fashion and art industry is rife, with countless stories of predatory photographers luring young men and women into their ‘studios’ where they are asked to undress and then the unthinkable happens. Eliza Clark’s Boy Parts is an electrifying look at the relationship between photographer and subject, which turns the more typical gender and power dynamic on its head and in doing so asks some fundamentally feminist questions about sex, gender and power. Part of me does think that London is this complete capitalist cesspit where all of the money goes and where dreams go to die,” she says, deadpan. “But at the same time I do really like it. I love how varied it is, in terms of the stuff you can do and the people who live here.” O'Neill, Lauren (5 August 2020). "Ultraviolence, Party Chat and Erotic Photography: The World of Eliza Clark's 'Boy Parts' ".The one-woman show format is apt, in a way, since the story revolves around an unreliable narrator. By standing in for all the other characters, Kelly as Irina has complete control over the narrative, and the absence of any other physical presence gives a literal expression to Irina’s self-absorption.

Now the Clark pipeline is running hot: as well as several screen projects she can’t discuss, she’s writing another novel (“a kind of speculative fiction thing”); in the autumn, there’s a stage adaptation of Boy Parts (which has also been optioned); and next year there will be a story collection “bouncing around” sci-fi and horror (one of the stories, She’s Always Hungry, is in the current issue of Granta; if you’ve read it and were left puzzled, Clark says 2,000 words were lopped off the end “in a way that may not be clear”, her admirably level phrase). verifyErrors }}{{ message }}{{ /verifyErrors }}{{ Have her parents read it? “They have not,” says Clark. One, because it’s so explicit and she feels grossed out by the thought of their doing so. And two, she’s worried they will think she based Irina’s parents on them. “Her mum’s this absurd harpy and her dad’s this weird, spineless, Freudian … and my parents aren’t like that! I suppose I’m going to have to let them at some point. It’s just, as far as my parents are aware, I’ve never had sex, I’ve never taken drugs, and I definitely don’t know what the member of a man looks like.” Throughout the book, the sense of what is real becomes increasingly blurred. “We’ve deliberately tried to honour that ambiguity,” says Greer. Joyce hopes audiences will leave with different ideas of what Irina is or isn’t capable of doing: “I’d like it if they argued about that afterwards.”Co-produced by Metal Rabbit, the play will run at Soho theatre, a venue with a history of solo shows about “messy” female protagonists, such as Phoebe Waller-Bridge’s Fleabag and Liz Kingsman’s One-Woman Show. Greer feels that Boy Parts will be a way of “moving the dial forwards”. Arbuthnot, Leaf (23 June 2023). "Three schoolgirls torture and kill a fourth – but that's not the whole story"– via www.telegraph.co.uk. Staff Writer (15 June 2023). "Brand new adaption of acclaimed novel Boy Parts to premiere at Soho Theatre". Written when she was 24, in eight months of weekends off from a day job at Newcastle’s Apple store, Boy Parts has so far sold 60,000 copies, she says: strong numbers for any literary debut, especially one from a tiny independent house such as north London’s Influx Press, which said yes to Clark’s cold pitch after she was snubbed by 12 agents. The book went more or less unreviewed – coming out in the plague summer of 2020 didn’t help – yet steadily amassed word-of-mouth buzz. About a year and a half after publication, Clark began to notice an extra digit on her royalty cheques. “It was TikTok. I don’t use it, so I had no idea. One of my friends said, it’s everywhere, there are videos about it that have hundreds and hundreds of thousands of views.” It is interesting to me how she perceives herself and how she perceives others perceiving her,” Kelly adds. In so many encounters Irina has, she has to shapeshift. “A major ingredient in the story is her gaze and the gaze in general,” which is something they are exploring in the rehearsal process, mindful of the fact that performing the monologue alone to an audience brings an extra dimension. On stage, she adds, “there’s nowhere to hide”.