At the Movies

Michael Wood: ‘The Truth’, 13 August 2020

... moments. But it isn’t bound to get lost in them, as in a series of whirlpools. Consider what may be going on when Deneuve’s character, Fabienne (Fabienne being Deneuve’s middle name), tells Binoche’s character, Lumir, that she couldn’t possibly understand how it feels to be an actress, and when, in an interview, she reflects on her successors in ...

Monkeypox

Hugh Pennington, 9 June 2022

... dogs, which were then sold as pets. The prairie dog keepers began to fall ill with monkeypox in May; 72 people were infected, all recovered, and none spread the infection to their human contacts. In Europe there have been only a few monkeypox cases in recent years, all involving a history of travel to Africa. So the big outbreak that started in the middle ...

Before Foucault

Roy Porter, 25 January 1990

The Normal and the Pathological 
by Georges Canguilhem, translated by Carolyn Fawcett and Robert Cohen.
Zone, 327 pp., £21.95, June 1989, 0 942299 58 2
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... on experience – which ultimately amounts to a bias in favour of life. The order of physics may be value-neutral: bio-medicine cannot be. We must, of course, strive to achieve stricter criteria for defining the sound and the pathological, but this has to do, not with fact-gathering and experimentation, but with conceptual clarification. This is not to ...

Happier Days

Rosalind Mitchison, 4 April 1991

Scottish Voices 1745-1960 
by T.C. Smout and Sydney Wood.
Collins, 334 pp., £16.95, August 1990, 0 00 215190 1
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... their infant eyelids and steeped their infant souls in blessed forgetfulness.’ The sympathy may be accepted, but in no way can the words be taken as a ‘voice’ from the past, for they can never have been spoken. Liz Lochhead on lodging with relatives has the rhythms of spoken speech. It is not the village Hampdens of Scottish life that we need from ...

Thick Description

James Peacock, 15 July 1982

Negara: The Theatre State in 19th-Century Bali 
by Clifford Geertz.
Princeton, 297 pp., £13.10, December 1980, 0 691 05316 2
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... to describe thickly – an expression he uses elsewhere – the Balinese theatre state. While some may object to his occasional rhetorical overkill or methodological vagueness, most would, I think, agree that this work is a masterpiece of a kind. Geertz succeeds perhaps better than anyone else could in achieving the ends he seeks: dissecting and depicting Bali ...

At Tate Modern

Julian Bell: Edvard Munch, 30 August 2012

... as singing and raw as anything in modernist painting. Here the conviction of Munch’s performance may sag, there it may sharpen: the quality follows no consistent arc. He comes across as a quickfire but resourceful workman, kept busy by his progressive-minded patrons. A 1917 portrait of a government lawyer slickly ...

Short Cuts

Christian Lorentzen: Paul Krugman, 19 July 2012

... to do with politics to be mild-mannered and level-headed, so when Paul Krugman came to London in May to promote his book End This Depression Now! (Norton, £14.99), even my landlord was impressed. Becoming a political pundit was never Krugman’s aspiration. You can tell he considers it slumming. His technocratic style suits American liberals’ idea of ...

At Tate Modern

Peter Campbell: Miró, 14 July 2011

... catalogue essays are strong on history and biography) is a question to return to.* Titles may explain subjects. They can also point to stylistic connections. Surreal titles turn up regularly: Woman Stabbed by the Sun Reciting Rocket Poems in the Geometrical Shapes of the Musical Bat Spittle Flight of the Sea (1939), while others like Burnt Canvas ...

In Abyei

Tristan McConnell, 30 June 2011

... so close. None of this was new to Abyei. It had all happened before. Exactly three years ago, in May 2008, Abyei the town was razed during an invasion from the North over the same issues. ‘The North does not want us, it wants our land,’ one Dinka sub-chief, Kuol Deng Maluak, had told me, not long before the town was occupied. His friends murmured ...

At the National Gallery

Julian Bell: Seduced by Art, 3 January 2013

... might be. The inclusion of a few canvases sets up interesting tensions. George Frederic Watts may have been Cameron’s mentor in developing a modern heroic portraiture, yet when their respective visions of Tennyson’s daughter-in-law May Prinsep are set side by side, I find that his tremulous, scrawny brushwork sets ...

Short Cuts

Jeremy Harding: Handwriting, 8 November 2012

... expression of both. If handwriting disappears, he warns, ‘some other elements of civilised life may die with this art, or skill, or habit.’ But maybe to focus on penmanship, as Hensher does, is to underestimate other clues about the arts of reading and writing that could help him identify the threat more clearly. If the aspiration to read is gradually ...

Short Cuts

Christian Lorentzen: Snotty American Brat, 9 May 2013

... and asking it to turn maroon. We’d sooner rot. I sometimes feel as if I were rotting, though it may just be the lack of sun, the fact that I hear the automated voice on the Tube saying ‘Next station Camden Town’ in my dreams and that I’m constantly asked what I think of London. I’ve come around to saying, ‘It’s not love/hate, more like mild ...

At the Duveen Galleries

Brian Dillon: ‘The Asset Strippers’, 18 July 2019

... Nelson has hung a number of large dusty plaques bearing Commonwealth flags and the legend ‘Long May They Reign’. At their centre, instead of the regal ‘GR’, is the cursive ‘GE’ of General Electric. The galleries were paid for by Lord Duveen of Millbank, energetic and ingenious purveyor of Old Masters to the grandest industrialists and financiers ...

Short Cuts

Daniel Soar: The Kursk, 30 November 2000

... the disaster, what the people want to hear coincides with what the military want to show, so it may not, after all, be a simple matter of the people’s view prevailing. Paranoia, incidentally, afflicts a large part of the Russian press, even under normal circumstances. In the tabloids this provides entertainment: one widely available paper, Sovershenno ...

At Tate Modern

Peter Campbell: Henri Rousseau, 5 January 2006

... technique, told him to stop, because if he was any good he’d be terrible. Artists themselves may want to keep their innocence for all sorts of reasons: pleasure in detailing facts lost in more sophisticated representations, in making patterns out of things (the flower-beds in the two Rousseau full-length portraits of women in the exhibition are set out ...