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“... historical themes. O’Neill’s novel deserves to be read alongside Hollinghurst, the films of Derek Jarman, Mark Merlis’s American Studies and An Arrow’s Flight, Robert Glück’s Margery Kempe, Tony Kushner’s Angels in America and, above all, Neil Bartlett’s inexhaustible Who Was That Man? A Present for Mr Oscar Wilde as well as his more ...”

“... heart of Sensation. Richard Shone mentions, as literary and cinematic parallels, Iain Sinclair and Derek Jarman – I imagine he is thinking of Jubilee and, perhaps, The Last of England – and goes on to make a telling comparison between the Chelsea and Notting Hill Gate ambience of Sixties Pop Art (Hockney in Powys Square, right where Performance was ...”

“... National. When I saw the original production at the Cottesloe in 1992 I found I was sitting behind Derek Jarman. I knew Derek slightly since he had been in the adaptation of Orton’s Prick Up Your Ears, and I knew, too, that he had been diagnosed with HIV. On my way to the theatre I had grazed my hand slightly as I ...”

“... 120 miles of snarled-up tarmac replaced the symbolic remnants of the Roman wall.In 1988, Derek Jarman made The Last of England. It featured royal weddings, the Falklands War, distressed street footage and rituals of exorcism around the decommissioned Millennium Mills in Silvertown. Punk tribes were expelled onto the river, cast adrift in ...”

“... being in the Hole made her feel completely alone. She voiced poems by dead artists and authors, Derek Jarman and Steve Moore. In this ‘underground/grave-like setting’, as she described it, she felt ‘as though the audience could choose to bury you at any moment’. She summoned up a quote from Paul Celan: ‘There was earth inside them, and they ...”

“... hats and turbans of men whose past was untraceable to any European eye’. Where the film-maker Derek Jarman, a figure who might have broken free from the fevered microclimate of The Great Fire of London, saw the downriver reaches of Silvertown, with its abandoned flour mills, as a site for dervish dances and the rituals of a punk apocalypse, Ackroyd ...”

“... Sioux said of her penchant for swastikas), modern folk devils like the Moors murderers. In Derek Jarman’s punk film Jubilee (1978), Jordan – the SEX shopgirl who wore the clothes and projected the attitude, making her ‘the first Sex Pistol’, according to Jarman – recites a monologue: ‘As a child my ...”