Arthur Miller’s A View from the Bridge and Amir Nizar Zuabi’s Oh My Sweet Land may have little in common thematically. What do they share however is both being currently on show at the Young Vic, a theatre, under David Lan, whose quality of work seldom drops below excellent
Ruth Valentine‘s new novel strikes Rosie Johnston as being both relentlessly true and beautifully told
Emma Lee picks out some highlights from the new collection by Ian House
Peter Daniels’ translations of poems by Vladislav Khodasevich would seem to tick all the boxes, says David Cooke
This is a book that everyone should read. How often does one get to say that – and not least when the title might suggest that the author merely means to expand our thin acquaintance with a sixty year old conflict, brief, remote, and wasn’t it all American?
Fiona Sinclair explores the complexities of Angela Topping’s collection Paper Patterns which deals with profound emotion and also with the pleasantly domestic.
D A Prince admires the careful construction of John Greening‘s new collection To the War Poets and is pleased by the way it trusts the reader to look deeper into the subject-matter.
We need no reminding this week what a lethal combination Sex ‘n’ drugs and rock ’n roll can be. So in the way of things, Simon Stephens’ latest, Birdland has its own coincidental topicality.
The Future-Past: Competing Temporalities of the Ruin. Ruin Lust, Tate Britain, 4 March – 18 May 2014.
A fascination with ruins has not always been with us. It presumes, for one, a linear notion of time, in other words the idea that the past is irrevocably lost. It is also born of a forensic – or archaeological – interest in history, one that sees in broken remains the traces of past acts and endeavours.
Robin Houghton’s new chapbook reminds Martin Noutch of the excitement and the challenge of moving into a new home
Merryn Williams is thankful that many poets remain unconvinced about the necessity of war and find compelling ways to say so in this new anthology