‘It is a book that engages thought and ideas more than feeling; this is poetry as extreme metaphysical sport.’
Nicola Healey reviews Ali Lewis’s Absence.
‘It is a book that engages thought and ideas more than feeling; this is poetry as extreme metaphysical sport.’
Nicola Healey reviews Ali Lewis’s Absence.
‘As with all tortured artists, we are often more comfortable recoiling at their wounds than considering them.’
Hallam Bullock on Answered Prayers and Capote’s Women.
‘As our high streets struggle to survive changing shopping habits, brought by the pandemic, the rising cost of living and online purchasing, perhaps we need to revisit Biba’s spirit of playfulness, optimism and laughter – an opportunity unfortunately missed by this show.’
Deborah Nash on The Biba Story at The Fashion and Textile Museum.
‘Kneeling in peace or protest, Ono asks us to pick up the scissors, the pen or the match so as to creatively strike out, seek peace and light up the dark.’
Hannah Hutchings-Georgiou reviews Yoko Ono: Music of the Mind.
‘In A Woman’s Story, Ernaux more than fills de Beauvoir’s feminist and existentialist shoes. And as the family’s ‘archivist’, she is every bit the dutiful daughter.’
Lucy Thynne on Annie Ernaux’s A Woman’s Story.
‘The demands of the male observer are hidden, his words never breaking through from the silent ubiquity of their god complex.’
Elliot C. Mason reviews Rachael Allen’s God Complex.
‘When we confess, we spit something out, something previously secret and slippery, something summoned up from deep inside.’
Jennifer Jasmine White reviews 52 Monologues at the Soho Theatre.
‘Seen from the other side of the Irish Sea, this looks like a courageous act, and one to wish for more often in English fiction.’
Guy Stagg reviews Colin Barrett’s Wild Houses.
‘Whilst his subjects range widely, Hardy’s style is constant. Even in the theatre of war, he managed to keep his frame still.’
Henry Roberts reviews Bert Hardy: Photojournalism in War at the Photographers’ Gallery.
Patrick Cash reviews Isabel Waidner’s ‘Corey Fah Does Social Mobility’ and Alison Rumfitt’s ‘Brainwyrms’
Hugh Foley reviews Ben Lerner’s ‘The Lights’ and Timothy Donnelly’s ‘Chariot’
‘Whilst approaching the prosaic in terms of length and division, Warmelo’s disregard for grammatical conventions pays homage to, yet disrupts and furthers a poetic legacy.’
Katrina Nzegwu reviews Aea Varfis-van Warmelo’s Intellectual Property.
You must be logged in to post a comment.