Intent on joining the Merchant Navy with a man called Reggie that he has just learned that he loves, Dick visits a vessel where he meets a group of already serving sailors: ‘ “I love Dick,” one screamed. And they all screamed with laughter. / …/ Dick thought of the ugly, middle-aged powdered faces. He … More ‘ “I love Dick,” one screamed. And they all screamed with laughter. / …/ Dick thought of the ugly, middle-aged powdered faces. He had never seen homosexuals like them before. He had never thought of his relationship with Reggie as being homosexual, he hadn’t labelled or questioned it. It wasn’t like this. They would never be like these men’. A reflection on Gillian Freeman’s book (1961) and film (1964) The Leather Boys.

Towards the very end of this novel a man in the Highlands above Glasgow gives the bedraggled, abused and self-alienated young Mungo Hamilton a lift in his Defender Land Rover as he treads back towards Glasgow. The man talks of one of his own four sons: ‘“Gregor’s a good lad. … Always helps his mother … More Towards the very end of this novel a man in the Highlands above Glasgow gives the bedraggled, abused and self-alienated young Mungo Hamilton a lift in his Defender Land Rover as he treads back towards Glasgow. The man talks of one of his own four sons: ‘“Gregor’s a good lad. … Always helps his mother around the house without being asked, but he’s a wee bit …” The man paused as though he couldn’t find the correct word. “Artistic. T’cbut. Do ye know what I mean by that?”’ This is my blog review of Douglas Stuart (2022) Young Mungo London, Picador.

Briony Fer, in an essay in the catalogue of the latest retrospective of Louise Bourgeois’ paintings at The Metropolitan Museum of Art in New York, says Bourgeois abandoned painting when painting itself abandoned the representation of an external world and its phenomena in the view that ‘the most ambitious art had to be abstract and … More Briony Fer says Louise Bourgeois abandoned painting when painting itself abandoned the representation of an external world and its phenomena in the view that ‘the most ambitious art had to be abstract and obey certain pictorial protocols – an opinion that, with all such doxa, was fundamentally exclusionary and to which she never adhered’. This is a blog on Clare Davies & Briony Fer (2022) ‘Louise Bourgeois: Paintings’

LIVERPOOL 2022 VISIT no. 0: This is a blog anticipating a visit to exhibitions in Liverpool and a series of blogs on them. This one anticipates that part of it visiting the ‘RADICAL LANDSCAPES’ exhibition at Tate Liverpool on June 16th 2.00 p.m. This is a show promising art that has thought anew about a … More LIVERPOOL 2022 VISIT no. 0: This is a blog anticipating a visit to exhibitions in Liverpool on June 14 – 17th and a series of blogs on them. What does it mean to read about such an exhibition before the event? The blog tests my feelings and thoughts on that issue by reading the essays and examining illustration in Darren Pih & Laura Bruni (Eds.) (2022) ‘Radical Landscapes: Art, Identity and Activism’.

Joe Gunner, the hero of The Whale Tattoo, recounting sexual encounters with Jim Fysh, a long-term boyfriend who has entered a heterosexual marriage, says: ‘…, I listen to him talk about how right it feels and I tell him, “these things you want can’t ever be right.”’ This is a blog on a new kind … More ‘…, I listen to him talk about how right it feels and I tell him, “these things you want can’t ever be right.”’ This is a blog on a new kind of bald and ‘dirty’ fiction about working-class male queer relationships (where even the ‘clouds hang like dirty curtains’) that considers the rights and wrongs of achieving ‘the in-between place … Where there’s no noise and nothing matters’. This is a blog on Jon Ransom (2022) ‘The Whale Tattoo’

Recommending Paul Deslandes (2022) The Culture of Male Beauty in Britain: From the First Photographs to David Beckham Chicago & London, The University of Chicago Press. I love this book. But I decided that I didn’t want to discuss its ideas because the whole concept of pursuing (as is the way of the academic) one … More Recommending Paul Deslandes (2022) ‘The Culture of Male Beauty in Britain: From the First Photographs to David Beckham’.

This blog reflects on Terence Davies’ Benediction based on seeing it for the first time on 20th May 2022 at the Roxy Screen, Tyneside Cinema, Newcastle.  This is a film about the wastage of young male lives but not solely in war. The latter is early predicated in the loss of Siegfried’s brother Hamo (Thom … More This blog reflects on Terence Davies’ ‘Benediction’ based on seeing it for the first time on 20th May 2022 at the Roxy Screen, Tyneside Cinema, Newcastle. 

Writing of his confrontation with literary periodicals and ‘avant-garde novels’ in the autobiographical account of his youth entitled Emblems of Conduct, Donald Windham says that whereas commonly people focus on ‘morality based on security’, ‘security seemed to me the limiting of possibility, and a morality based on security to be immoral’.[1]  This blog considers how … More Donald Windham says that whereas commonly people focus on ‘morality based on security’, ‘security seemed to me the limiting of possibility, and a morality based on security to be immoral’. This blog considers how the work of Windham creates a stance on ethics and morality that embraces the world of endless queer potential and the risk it involves. It reflects on him by focusing on ‘The Warm Country’ (1960) set of short stories, ‘The Hero Continues’ (1960) and ‘Two People’ (1965).

‘Unrecounted / always it will remain / the story of the averted / faces’. This blog ponders on the need to tell ambiguous stories, neither truth nor lies exactly, of the displaced Jew, the insane, unnameable or queer and other characters written ‘on the edge’. It probes writing fascinated by the theme of the untold … More ‘Unrecounted / always it will remain / the story of the averted / faces’. This blog ponders on the need to tell ambiguous stories, neither truth nor lies exactly, of the displaced Jew, the insane, unnameable or queer and other characters written ‘on the edge’. It probes writing fascinated by the theme of the untold and untellable story of the forever more deeply marginalised  in the work of W. G. Sebald and the unsettling reflection of that in Carole Angier’s 2021 literary critical biography Speak, Silence, In Search of W. G. Sebald

Javier Portús, introducing the book that celebrates the Prado’s first celebration of The Spanish Portrait explains that ‘some readers may be surprised to see some pictures that are not portraits in the obvious sense’ but that they are included as an ‘opportunity to reflect on the boundaries between portrait, reality and representation’. That opportunity he … More Javier Portús explains of a Prado exhibition that ‘some readers may be surprised to see some pictures that are not portraits in the obvious sense’ but that they are included as an ‘opportunity to reflect on the boundaries between portrait, reality and representation’. This blog insists that those boundaries are nearly always porous and need added to them the liminal cusp of boundaries of the portrait to paintings that evoke ‘description’ also of the imagined supernatural wherever it occurs – in religion and political ideology. It uses as its case studies examples of ‘portraits’ currently in the Spanish Gallery in Bishop Auckland

When your bestie hits fifty, it’s hard to put into sensible words what you feel – so I thought I’d just accept the fact that utter nonsense is what I am good at writing. So here it is – utter nonsense! It acknowledges Justin’s key passion (Prince) and his politics but the thing about this … More Our dearest friend Justin Curley is 50 on Friday 22nd April 2022. Steve wrote a poem in tribute to him.

Why plays must end as they will: ‘the Gods look down / expect the unexpected … end of story. Black. / End’.[1] Reflecting on the reading of plays before you see them! The case of Euripides’ Medea (a play I have read and seen in different versions many times). This blog focuses on the version … More Why plays must end as they will: ‘the Gods look down / expect the unexpected … end of story. Black. / End’. Reflecting on the reading of plays before you see them! The case of Euripides’ ‘Medea’ (a play I have read and seen in different versions many times). This blog focuses on the version (‘after Euripides’ in the author’s term) written in 2000 by Liz Lochhead which will be seen by us for the first time in Edinburgh performed by the National Theatre of Scotland at the 2022 Edinburgh International Festival on Saturday 20th August. The text is available as Liz Lochhead (after Euripides) [2000] Medea