Review | The Only Story by Julian Barnes
The Only Story by Julian Barnes Readers who were a little disappointed by Barnes’s last political fiction The Noise of…
Review | Sons and Lovers: The Biography of a Novel by Neil Roberts
Sons and Lovers: The Biography of a Novel Neil Roberts, Clemson University Press As the subtitle to this literary…
Review | Richard III: Brother, Protector, King by Chris Skidmore
Dick the Bad: History’s Most Famous Murder Suspect Richard III: Brother, Protector, King – by Chris Skidmore Weidenfeld & Nicolson,…
Review | Rainsongs, by Sue Hubbard
Sue Hubbard’s Rainsongs has a unique and beautiful emotive quality that shines through its delicately constructed prose in a love-letter to…
Julie Cope’s Naked Lunch
‘God is dead. God remains dead. And we have killed him.’ Said Nietzsche, so instead of looking to religion…
Review | Fahrelnissa Zeid at the Tate Modern
‘When I’m painting, I am always aware of a kind of communion with all living things, I mean with…
Review | Keith Vaughan: On Pagham Beach, Photographs and Collages from the 1930s
It is hard for those brought up in a world of gender fluidity, with debates about who has the…
Review | Melancholia – A Sebald Variation at Somerset House
Descend the vertiginous spiral staircase to the Inigo Rooms of Somerset House in London between September 21st and December…
Review | Calder on Paper: 1960 – 1976 at the Saatchi Gallery
SALON, Saatchi Gallery’s commercial exhibition space, launched earlier this year aiming to present the work of leading international artists…
Extending the Range of Pejoratives: Howard Jacobson’s Pussy
Written in “a fury of disbelief” during the weeks that followed the unlikely election of Donald Trump, Howard Jacobson’s…
Review | The Essence of Things at 48 Albemarle Street
Arriving at 48 Albemarle Street you immediately enter a stripped-back environment; surrounded by exposed brick, wood and metal. This industrial…
Review| The Letters Page Vol.2 published by Book Ex Machina
To pick up a book, writes Ioanna Mavrou, is ‘as if stepping out of the world for a beat and…
Extending the Range of Pejoratives: Howard Jacobson’s Pussy
Written in “a fury of disbelief” during the weeks that followed the unlikely election of Donald Trump, Howard Jacobson’s latest…
Quotidian Queerness
The great strength of this exhibition is its demonstration of the ubiquitous nature of queer art and culture. Timed to…
You Must Change Your Life – The Story of Rainer Maria Rilke and Auguste Rodin by Rachael Corbett
You Must Change Your Life is an enthralling exploration of the complex relationship between two creative giants of art and…
Poetry London Summer Readings: Rachael Allen, Andrew McMillan, Vahni Capildeo and Emily Berry
Poetry London’s summer launch opened with an impassioned speech by the poet Karen McCarthy Wood, who is a trustee on…
Review | ArtCircle’s Focusing Space at 48 Albermarle Street
On entering the doorway of 48 Albemarle Street and walking up its makeshift staircase of simple wooden boards you are…
Joel Shapiro at Pace London
Walking into the Joel Shapiro exhibition at the Pace gallery is like entering a painting, as a friend of mine…
The Vintage Poetry Showcase: Ocean Vuong and Kayo Chingonyi
Ocean Vuong and Kayo Chingonyi’s recent reading is one of the most spectacular that I have attended. R. A. Villanueva…
Faber Reading: An Evening with Emily Berry, Emma Jones, Zaffar Kunial, Daljit Nagra, Richard Scott
The Crypt on the Green in Clerkenwell Close was beautifully lit with fairy lights, and the low chatter of poetry…
Lisa Brice at the Stephen Friedman Gallery
In 1959 Yves Klein wrote: “blue has no dimensions.” For him, all other colours could be relegated to specific associative…
Howard Hodgkin: Absent Friends at the National Portrait Gallery
According to a new exhibition of Howard Hodgkin’s work at the National Portrait Gallery, one of the artist’s principal concerns…
Review | Louder Than Hearts by Zeina Hashem Beck
‘Louder than Hearts has it all’, writes Betsy Sholl, judge of the 2016 May Sarton New Hampshire Poetry Prize, ‘compelling…
Vanessa Bell at the Dulwich Picture Gallery
How much context do we need to appreciate a painting? Take, for example, Vanessa Bell’s Studland Beach, 1912. We might…
You must be logged in to post a comment.