For an artist whose career is based on confronting the spaces we either ignore or deliberately avoid, the now-demolished BBC office that reputedly inspired Room 101 in George Orwell’s 1984 is perfect subject-matter.
year 2017
Graham Hardie browses an enjoyably varied chapbook collection from Maxine Linnell
Arp, The poetry of Forms is a major retrospective of an artist whose work seeks to captures abstract thought. This exhibition is contrasted by Tracey Emin’s My bed and her selection of Turner sea-scapes, that deal with a more visceral response to life.
Roger Caldwell considers an impressively substantial volume of poems by Robert Desnos with translations by Timothy Adès
John Forth investigates the thinking behind the poems in Peter Bland’s latest collection
Peter Ualrig Kennedy finds real depths in Chris Hardy’s recent collection.
Thomas Ovans looks at myth and reality as handled in a debut pamphlet from Kitty Coles
To most Britons, P.G. Wodehouse is known as the creator of quaint, comic novels starring the blundering upper class twit Bertie Wooster and his astute valet Jeeves. He also contributed lyrics and stories to a wealth of musicals and his step great grandson, the opera singer Hal Cazalet, who as a child slept in a room beneath the Wodehouse archive, tells us he only got to know P.G. Wodehouse’s prose through the song lyrics.
Hansel and Gretel was originally written by The Brothers’ Grimm in 1912. It is a folk tale, showing how a brother and sister avoid being eaten alive by a witch in the gingerbread house. It is a tale that seems to foreshadow the Third Reich.
Wayne McGregor is the choreographer of the moment, the brainiest bloke on the block. That this must be so is confirmed by the scale of the recognition he receives, as much from rapturous young audiences as from battle-hardened institutions.
Emma Lee examines Mario Susko’s compassionate approach to poems about conflict
Sands Film Club recently screened Alessandro Blasetti’s 1860 as part of its 1934 cinema season. Blasetti’s pioneering film has been credited with introducing a number of cinematic techniques which would become calling cards of Italy’s Neo-Realist directors, such as De Sica, Visconti and Rossellini, during the 1940’s and 1950’s.
By Jane McChrystal • film, history, year 2017 • Tags: film, history, Jane McChrystal