Paul Myerscough

Paul Myerscough is an editor at the LRB.

Short Cuts: Iris Murdoch

Paul Myerscough, 7 February 2002

The critics can be pushed only so far. Having fallen over themselves to praise John Bayley for Iris: A Memoir of Iris Murdoch, they were kind, rather, about Iris and The Friends. But now – and this even after Bayley’s appearance with Kate Winslet and Judi Dench on his arm at the première of Iris: The Movie – the cracks have begun to appear.

Writers have often been...

At the Serpentine: Cy Twombly

Paul Myerscough, 20 May 2004

You have to trust yourself in front of a Twombly. The critics won’t help. They’re worried about naivety – Twombly’s, or possibly their own – and tend to overcompensate for it. Here’s Simon Schama in his introduction to the catalogue for Cy Twombly: Fifty Years of Works on Paper: ‘Twombly’s Apollo is not the fine-limbed hunk of the Belvedere, but...

Short Cuts: Zidane at work

Paul Myerscough, 5 October 2006

The average maximum temperature in Madrid in mid to late April is 18 °C. It would have been somewhat cooler than that in the Bernabéu Stadium, at 9 p.m. on 23 April 2005, when Zinédine Zidane walked onto the pitch with Real Madrid to face Villarreal, even under the floodlights and swathed in the body-heat of 72,485 restless spectators. But by the time Darius...

At the Coppermill: Simply Botiful

Paul Myerscough, 14 December 2006

In September 2004, the German sculptor John Bock turned the main gallery at the ICA into something like a giant treehouse, a cluster of cabins, platforms and dens bashed together out of plywood and hung about with tinfoil, blankets and washing-lines. To get between them you’d climb ladders and squeeze through tunnels, balance on walkways and clamber over hay bales. Installations of this...

The Flow: ‘The Trap’

Paul Myerscough, 5 April 2007

‘One night in Miami,’ Raymond Williams wrote in 1973, ‘still dazed from a week on an Atlantic liner, I began watching a film and at first had some difficulty adjusting to a much greater frequency of commercial “breaks”.’ Things didn’t get any easier for him. Trailers for two other movies began to appear as inserts; the one he’d started with, about a crime in San Francisco, was interrupted not only by advertisements for cereal and deodorant, but by a romance set in Paris and then the roar of a prehistoric monster laying waste to New York. ‘I can still not be sure,’ Williams reflected, ‘what I took from that whole flow’ – aside, presumably, from a sharp urge to lie down.

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