Steve_Bamlett_blog

True stories about strange lives: comparing views about truth-telling and ‘explanations for female genius’, from some of the film critics of Frances O’Connor’s Emily. I saw this film on Sunday 16th October of the Odeon in Durham. In The Sunday Times, Tom Shone takes a severe view of the duty of a film that looks … More True stories about strange lives: comparing views about truth-telling and ‘explanations for female genius’, from some of the film critics of Frances O’Connor’s ‘Emily’. I saw this film on Sunday 16th October of the Odeon in Durham.

‘The biggest task of the show is the actress playing Nora’s (sic.). … A more selfish actress would make the whole play about herself, but not Hannah [Ellis Ryan]. For her it’s very much an ensemble. Michael Meyer, the translator, always used to say that actors who want to grandstand, who aren’t willing to play … More ‘The biggest task of the show is the actress playing Nora’s (sic.). … A more selfish actress would make the whole play about herself, but not Hannah [Ellis Ryan]. For her it’s very much an ensemble. Michael Meyer, the translator, always used to say that actors who want to grandstand, who aren’t willing to play relationships, always fail with Ibsen, because what fascinated him was the complexity of relationships’. This blog discusses the production of Henrik Ibsen’s ‘A Doll’s House’ (Michael Meyer translation) by Elysium Theatre Company played on 14th October at Bishop Auckland Town Hall. References to text (not in all precise respects like the production adapted one) from Henrik Ibsen (translated Michael Meyer) [1990: 23 – 104] ‘Plays: Two’.

‘The time has come to be reflective’.[1] Do artists who have lived a very long and full life prefer to experience ‘emotion recollected in tranquillity’ (to which Wordsworth traced the origin of poems) now it can no longer be keenly experienced in action? It would be easy to attribute an actor and novelist’s turn to … More ‘The time has come to be reflective’. Do artists who have lived a very long and full life prefer to experience ‘emotion recollected in tranquillity’ (to which Wordsworth traced the origin of poems) now it can no longer be keenly experienced in action? These poems queer our conception of the development we call normative aging, developing that space in an old queer man’s body wherein we still feel ‘inclined to the wild unreason / that’s unbecoming in a man my age / and seeming dignity’. This blog, with personal reflections of my own, discusses the significance of the poems of Paul Bailey, mainly in ‘Joie de Vivre’ (2022).

‘Queer people have a particular stake in the question of paradise. …. not as a false paradise, or a paradise lost, but as an extant changing site, alive and livable, suspended in the present of a shared moment, and still ripe for rewriting’.[1] Do places have biographies as well as histories, inner lives and the … More ‘Queer people have a particular stake in the question of paradise’. Do places have biographies as well as histories, inner lives and the stuff of changes that occur in time tempered by reflection as well as circumstance? The case of Fire Island as see by Jack Parlett in ‘Fire Island: Love, Loss and Liberation in an American Paradise’.

The Credit Suisse Exhibition, Lucian Freud: New Perspectives is, according to Laura Cumming in The Observer the artist ‘stripped bare: …. No emphasis on the biography, behaviour or love life; no abasement before genius, just the revelation of the paintings as works of art to celebrate the centenary of Freud’s birth. …  Freud’s portraits can … More The Credit Suisse Exhibition ‘Lucian Freud: New Perspectives’ is, according to Laura Cumming ‘the artist ‘stripped bare: …. Freud’s portraits can speak for themselves’. This blog starts by musing upon the nature of mainstream media art reviews but is intended mainly to contain my thoughts prior to visiting the exhibition. It is done after reading the catalogue by Daniel F. Hermann (Ed.) named ‘Lucian Freud: New Perspectives’

According to Caitlin Haskell, writing in the catalogue for the Tate Modern EY Cézanne exhibition in 2022, the Refusés (artists such as Cézanne, Manet and Pissarro) ‘interrogated and laid open fundamental aspects of picture-making – colour, facture, finish, resolution, subject matter, cropping, compositional structure, … –  to a degree that painting itself became a critical … More According to Caitlin Haskell, the ‘Refusés’ (artists such as Cézanne, Manet and Pissarro) ‘interrogated and laid open fundamental aspects of picture-making – colour, facture, finish, resolution, subject matter, cropping, compositional structure, … –  to a degree that painting itself became a critical pursuit simultaneous with its creative and aesthetic ends’. This blog contains my thoughts prior to visiting the exhibition in London after perusing the catalogue by Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell & Natalia Sidlina (Eds.) named ‘Cézanne’.

‘… how there’s still a kindae / fuckin serious / / as fuck / splendour / / tae every minute ay aw ay this? ’[1] This blog contains my personal views of Jenni Fagan’s (2022) The Bone Library Edinburgh, Polygon. Jenni Fagan’s single works reflect on each other. This is not because she writes on … More ‘… how there’s still a kindae / fuckin serious / / as fuck / splendour / / tae every minute ay aw ay this? ’This blog contains my personal views of Jenni Fagan’s (2022) The Bone Library Edinburgh, Polygon.

‘The material was haphazardly arranged, but that only added, I thought, to the authenticity of what she had to say. / Within a few days, however, I had convinced myself that I was the victim of a prank’.[1]This blog contains my personal views of Graeme Macrae Burnet’s (2022 paperback edition. First publ. 2021) Case Study … More ‘The material was haphazardly arranged, but that only added, I thought, to the authenticity of what she had to say. / Within a few days, however, I had convinced myself that I was the victim of a prank’. This blog contains my personal views of Graeme Macrae Burnet’s (2022 paperback edition. First publ. 2021) ‘Case Study’ Glasgow, Saraband. REFLECTIONS on BOOKER LONGLIST 2022

‘Inside, the heat of the room pushes down from the ceiling and this is a different kind of bodies on bodies: these one grind and, instead of joy, there is much wanting … We’re all wanting something, though; most of us replacing what we really want with skin, which works until you wake up and … More ‘Inside, the heat of the room pushes down from the ceiling and this is a different kind of bodies on bodies: these one grind and, instead of joy, there is much wanting … We’re all wanting something, though; most of us replacing what we really want with skin, which works until you wake up and the mirror is a blur of time twisting around the throat.’ This blog is about a novel that ought to have been shortlisted but was not: Leila Mottley (2022) ‘Night Crawling.’ BOOKER REFLECTIONS ON LONGLIST 2022.

‘He found it all depressing; not that lynching could be anything but. However, the crime, the practice, the religion of it, was becoming more pernicious as he realized that the similarity of their deaths had caused these men to be at once erased and coalesced like one piece, like one body. They were all number … More ‘He found it all depressing; not that lynching could be anything but. … However, the crime, the practice, the religion of it, was becoming more pernicious as he realized that the similarity of their deaths had caused these men to be at once erased and coalesced like one piece, like one body. They were all number and no number at all, many and one, a symptom, a sign.’ This blog is about Percival Everett (2022) ‘The Trees: a Novel ’.

‘She had written a secret book, … a book about a young man called Julian who was in hiding, disguised as a girl called Julienne, in a similar place. … And how did the story progress, asked the Djinn,.., how did you resolve it? I could not, said Dr Perholt. It seemed silly, in writing, … More ‘She had written a secret book, … a book about a young man called Julian who was in hiding, disguised as a girl called Julienne, in a similar place. … And how did the story progress, asked the Djinn,.., how did you resolve it? I could not, said Dr Perholt. It seemed silly, in writing, I could see it was silly. … the more realism I tried to insert into what was really a cry of desire – for nothing specific – the more silly my story.’ This blog is about ‘Three Thousand Years of Longing’, the 2022 film. It also uses the text of the original story by A.S. Byatt (1994) “The Djinn in the Nightingale’s Eye”