‘He erected his easel … and turned it almost perpendicular to the window, angling it to catch the light without casting shadow.’[1] This is a blog on the ownership of figurative Art and the politics of ‘colonisation’. The blog concerns Audrey Magee’s (2022) The Colony London, Faber. Note that it CONTAINS SPOILERS: so do not … More ‘He erected his easel … and turned it almost perpendicular to the window, angling it to catch the light without casting shadow.’ The blog concerns Audrey Magee’s (2022) The Colony London, Faber. Note that it CONTAINS SPOILERS: so do not read if you do not like that: BOOKER REFLECTIONS ON LONGLISTLIST 2022.

In 1893 the ‘critic R.A. M. Stevenson observed’: “I feel the real lover of pictures preserves them from dangerous encounters. … he jealously guards his pictures from improper companions and riotous debauches and untrammelled colour”.[1] This blog examines why art galleries are looking again at the tastes of the private and institutional collectors of art … More In 1893 the ‘critic R.A. M. Stevenson observed’: “I feel the real lover of pictures preserves them from dangerous encounters. … he jealously guards his pictures from improper companions and riotous debauches and untrammelled colour”. This blog reflects on an 2022 exhibition at the Scottish National Gallery and the catalogue of the exhibition: Francis Fowle (Ed.) [2021] ‘The Impressionist Era: The Story of Scotland’s French Masterpieces’

Queerly Dedicated: seeing plays about queer sexualities at Edinburgh Festival in 2022: covering a visit from 20th – 27th August 2022. Every year we come to Edinburgh, we see as many plays about queer sexuality as the Fringe offers. The writers always have a point to drive home and the companies which commission or perform … More ‘Queerly Dedicated’: seeing plays about queer sexualities at Edinburgh Festival in 2022: covering a visit from 20th – 27th August 2022.

‘But when I think Oh William!, don’t I mean Oh Lucy too? / Don’t I mean Oh Everyone, Oh dear Everybody in this whole wide world, we do not know anybody, not even ourselves!’[1] This blog is about Elizabeth Strout (2021) ‘Oh William!’, New York & London, Viking, Penguin Books. Note that it CONTAINS SPOILERS: … More ‘But when I think Oh William!, don’t I mean Oh Lucy too? / Don’t I mean Oh Everyone, Oh dear Everybody in this whole wide world, we do not know anybody, not even ourselves!’ This blog is about Elizabeth Strout (2021) ‘Oh William!’: BOOKER SHORTLIST REVIEW.

 ‘You want to ask the universe what everyone else wants to ask the universe. Why are we born, why do we die, why anything has to be. And all the universe has to say in reply is: I don’t know, arsehole, stop asking. The Afterlife is as confusing as the Before Death, the In Between … More BOOKER SHORTLIST ‘You want to ask the universe what everyone else wants to ask the universe. Why are we born, why do we die, why anything has to be. And all the universe has to say in reply is: I don’t know, arsehole, stop asking. … So we make up stories because we’re afraid of the dark’. This blog contains my personal views of Shehan Karunatilaka’s (2022) ‘The Seven Moons of Maali Almeida’ @ShehanKaru info.

BOOKER REFLECTIONS LONGLIST 2022: ‘…, it seemed as if her anatomical nightmares had begun to bleed into the days’.[1] This blog contains my personal views of Maddie Mortimer’s (2022) Maps of Our Spectacular Bodies, London, Picador. This blog CONTAINS SPOILERS so do not read if you do not like that. Figure 1: This book took … More ‘…, it seemed as if her anatomical nightmares had begun to bleed into the days’.[1] This blog contains my personal views of Maddie Mortimer’s (2022) ‘Maps of Our Spectacular Bodies’, BOOKER Reflections LONGLIST 2022.

BOOKER REFLECTIONS SHORTLIST 2022: ‘“Who? What? Said the man. “Is there a difference?” ’[1] This blog contains my personal views of Alan Garner’s (2021) Treacle Walker London, 4th Estate. Some readers of Alan Garner seem to be clear about who, or what, this novel is about. Reviewers for The Guardian (Alex Preston) and The Observer … More BOOKER REFLECTIONS SHORTLIST 2022: ‘”Who? What? Said the man. “Is there a difference?” This blog contains my personal views of Alan Garner’s (2021) ‘Treacle Walker’.

Arinze Ifeakandu describes the discovery of his amative preferences when he was ‘a little boy’ thus: ‘But it was boys who made my heart go wild. Boys were incredibly beautiful to me, not in the way that girls were—girls were beautiful in factual ways: fine girl. Boys, I wanted to hold. Soon, I began to … More Arinze Ifeakandu describes the discovery of his amative preferences when he was ‘a little boy’ thus: ‘But it was boys who made my heart go wild. Boys were incredibly beautiful to me, not in the way that girls were—… Boys, I wanted to hold. Soon, I began to write stories that satisfied this longing, especially as I began allowing myself freedom to be with, and think of, boys. Representing that love was my way of perhaps participating in something my heterosexual peers enjoyed without second thoughts’. This blog reflects on Arinze Ifeakandu’s (2022) ‘God’s Children Are Little Broken Things’ and previews an interview of him with Colm Tóibín on the 24th August 2022.

‘The rattling in my head began to fade. It would return, of course, … but I grew better at recognising it for what it was: a need to stop and admire the view’.[1] This blog reflects on why we sometimes might need the differentiated paces of the semi-graphic novel to get made. It uses an … More ‘The rattling in my head began to fade. It would return, of course, … but I grew better at recognising it for what it was: a need to stop and admire the view’. This blog reflects on why we sometimes might need the differentiated paces of the semi-graphic novel to get made. It uses an excellent example by Lizzy Stewart (2022) ‘Alison’.

‘Sometimes I would wake then, not knowing how the dream ended. Other times I would see a diver near the surface, his silhouette like an angel a mile above us, and then I noticed or knew somehow that it was myself, or some future version of myself that had come to tell me something, to … More ‘Sometimes I would wake then, not knowing how the dream ended. Other times I would see a diver near the surface, his silhouette like an angel a mile above us, and then I noticed or knew somehow that it was myself, or some future version of myself that had come to tell me something, to save me, perhaps to tell me a secret, to assure me that all this would mean something in the end’. This blog reflects on a recent memoir by poet Seán Hewitt (2022) ‘All Down Darkness Wide’

2022 Booker Longlist – The Books I read this year. My predictions-cum-wishes of WINNER, in order: I was aiming to keep these lower – certainly than the full list but maybe considerably lower than that. In previous year’s I blogged the full list. Here’s the Longlist – and the record of my adventures with it: … More 2022 Booker Shortlist & Longlist & THE WINNER (the one I predicted) – The Books I read this year (now complete by my own standards. Personal views only).

In a Foreword to a book relating to an exhibition based on David Hockney’s stimulus to the academic world to revise its boundaries, in the history of art at least, Alan Bookbinder and Luke Syson say that the ‘project demonstrates that the phenomena of seeing and experiencing are germane to both science and art’. They … More In a Foreword to a book relating to an exhibition based on David Hockney’s stimulus to the academic world to revise its boundaries, in the history of art at least, Alan Bookbinder and Luke Syson say that the ‘project demonstrates that the phenomena of seeing and experiencing are germane to both science and art’. They go on to claim it represents ‘easing’ between these academic disciplinary borders that will, by ‘cross-pollination of ideas and innovation help us all look differently at the world we inhabit’. This blog reflects on a much needed attempt to examine seriously and with respect the ‘Hockney thesis’ in the 2022 book of the exhibition edited by Martin Gayford, Martin Kemp and Jane Munro ‘Hockney’s Eye: The Art and Technology of Depiction’