Part 1 of this two-part blog about Andrew Scott’s achievement in enacting all the multiple personae of Vanya. In this part 1, I prepare myself, by examining the audacious text of the Stephens screenplay, to see Andrew Scott perform all the roles of this play, as it was intended one actor would, in the streamed … More Part 1 of a two-part blog which aims to talk about Andrew Scott’s achievement in enacting all the multiple personae of ‘Vanya’, as aspects of the solitary and solipsistic self, perhaps. (Part 1 is about preparing myself for the novelties of the Simon Stephens’ text).

In Andrew McMillan’s Pity (2024) personal memories and socio-political histories meld so much that they are perfectly expressed in the same metaphors, as concerned with that which, ‘came back to him every so often, when the wheel of memory dredged it up and brought it into the light and then sunk it down inside of … More This is a blog on Andrew McMillan (2024) ‘Pity’ Edinburgh, Canongate Books.

‘I open my mouth to tell him he’s wrong. That he’s talking in tongues. Though no words come out. Nothing hitchhiking on my breath. Truth is troublesome like that’.[1] This is a blog on the second ground-breaking queer novel by Jon Ransom (2024) The Gallopers London, The Muswell Press. For my blog on Jon Ransom’s … More ‘I open my mouth to tell him he’s wrong. That he’s talking in tongues. Though no words come out. Nothing hitchhiking on my breath. Truth is troublesome like that’. This is a blog on the second queer novel by Jon Ransom (2024) ‘The Gallopers’.

A day in Edinburgh with Prints and Photographs: Exhibitions in National Galleries of Scotland: (3) Making Space for a Reason. But what reason? (Part 3 [FINAL PART] of Edinburgh blog). For Part 1: A day in Edinburgh with Prints and Photographs: Exhibitions in National Galleries of Scotland: (1) Introduction; use this link. For Part 2: A … More A day in Edinburgh with Prints and Photographs: (3) Making Space for a Reason. But what reason?

A day in Edinburgh with Prints and Photographs: Exhibitions in National Galleries of Scotland: (2) Hidden ingenuity and affordances to thought and meaning in the Art of Printmaking (Part 2 of Edinburgh blog). For Part 1: A day in Edinburgh with Prints and Photographs: Exhibitions in National Galleries of Scotland: (1) Introduction; use this link. For … More A day in Edinburgh with Prints and Photographs: (2) Hidden ingenuity and affordances to thought and meaning in the Art of Printmaking.

For Part 2: A day in Edinburgh with Prints and Photographs: (2) Hidden ingenuity and affordances to thought and meaning in the Art of Printmaking: use this link. For Part III: A day in Edinburgh with Prints and Photographs: Exhibitions in National Galleries of Scotland: (3) Making Space for a Reason. But what reason? (Part 3 of Edinburgh blog).  … More A day in Edinburgh with Prints and Photographs: Exhibitions in National Galleries of Scotland: (1) Introduction

‘Orpheus is as old as storytelling itself. He opened his mouth and all of music and all of poetry fell out. … Two thousand years of passing mentions later, can O and E, released from the weight of their histo-ry, make a new fate? Can the myth be escaped?’[1] So starts Tom de Freston with … More ‘Orpheus is as old as storytelling itself. He opened his mouth and all of music and all of poetry fell out.’ This blog explores Tom de Freston with Kiran Millwood Hargrave’s 2017 book ‘Orpheus and Eurydice: A Graphic-Poetic Exploration’.