Search Results

“... until everyone felt the presence of the devil on the doorstep each day, just waiting his chance. Patrick Wright evokes Cold War stereotypes very concretely, beginning in Fulton, Missouri, where in 1946 Churchill first claimed to discern the curtain that had ‘descended from Stettin in the Baltic to Trieste in the Adriatic’. His speech aimed at ...”

“... before the referendum that ensured the UK’s continuing membership of the European Community; Patrick Wright was researching The Sea View Has Me Again: Uwe Johnson in Sheerness as the 2016 referendum took the UK out of the European Union. The histories Wright unfolds go far beyond those bookend dates and far beyond ...”

“... the new Chinese regime and had played a leading part in securing the Geneva Accords. It was, as Patrick Wright puts it, ‘one of the last occasions, only two years before the Suez crisis, on which Britain exerted a decisive influence on international politics’. Zhou began to employ a ‘come and see’ strategy, inviting Western delegations to visit ...”

“... down another field, diagonally, this time accompanied by a blue tractor. This pairing of views in Patrick Keiller’s 2010 film Robinson in Ruins – glimpsed again as part of his current installation at Tate Britain (on display until 14 October) – is almost too typical to be true and must, among other things, be a joke at his own expense. Since the early ...”

“... was open-minded about new inventions, prepared to back them even if they had no naval relevance. Patrick Wright’s fascinating book is a cultural rather than a military history, dwelling on images and impressions of the tank, its impact on the general public, the responses of artists and writers, rather than its evolving strategic role and its ...”

“... With Patrick Keiller’s work a suitable place to begin would seem to be the end – specifically The End (1986), the first film by him to incorporate the subject matter and use the techniques that came to typify his mature style. Seventeen minutes long, and photographed in the autumn of 1983 by Keiller and his sometime collaborator (and full-time partner), Julie Norris, The End consists of what might be termed mises-en-scène trouvées; if by this we are to understand the fortuitous discovery by the camera’s lens of landscapes, cityscapes and their largely spectral human inhabitants ...”

“... British heritage industry is a loathsome collection of theme parks and dead values.’ For Patrick Wright, it is ‘part of the self-fulfilling culture of national decline’. As their country’s importance in the world diminishes, the British turn to their past for emotional compensation. How long, asks Robert Hewison, will it be before the ...”

“... invented city, populated by cut-out symbols of oppression. Where are these phantom wine-bars? As Patrick Wright points out in A Journey through Ruins, it is a brutal ‘half-hour hike’ from the Bow Quarter fortress for anyone thirsty enough to trade life and shoulder-bag for a lime meniscus in their Mexican beer. Wine-bars in the neighbourhood of ...”

“... things brought about the marketisation of the English house as a design brand, selling a concept Patrick Wright described as the world of Brideshead, ‘a countervailing and predominantly rural world based on private values and culturally sanctioned hierarchy, where history is venerated as tradition and culture is based on ancestry and descent’. The ...”

“... returned. He came back to England. Just in time for Margaret Thatcher. The cultural historian Patrick Wright, a man with a secret fondness for poetry (holograph Louis Zukofsky on the wall), made the trip at the same time, decanted from Vancouver. Those hazy overseas slots were vanishing and England was going mad. ‘I felt,’ ...”

“... I was writing a novel called Downriver and walking, in dialogue, with the cultural historian Patrick Wright, who lived close to me in Hackney. We explored the territory together: the Bow Quarter development conjured from the Bryant & May match factory, the weaver’s garret occupied by David Rodinsky above a decommissioned synagogue in Princelet ...”

“... became a national creed. Their most grotesque proponent was, of course, Margaret Thatcher, whom Patrick Wright once diagnosed as forever ‘redeclaring the Second World War’. Now, however, there is a growing unease about war memory in this country. Evident in last year’s arguments over the D-Day celebrations, it was evident again early this year in ...”

“... In 1987, BT’s phone box monopoly ended. So began the conversion memorably described by Patrick Wright in A Journey through Ruins (1991), of the only remaining ‘public’ element of a now otherwise privately owned service into a (privately owned) heritage industry. Boxes began to come in different shapes and sizes. Respectable neighbourhoods ...”

“... An article in the Independent of 10 July was headed with these remarkable words: ‘Patrick Barclay reflects on a World Cup which was largely lacking in drama, individual dynamism and moments to cherish in the memory.’ This is not a description of the World Cup that I have been watching. But it is a good description of the coverage of the football which was offered by Patrick Barclay, by other British journalists, and by experts and commentators who were heard from on television ...”

“... office workers, and street gangs pretending they are riding with Marlon Brando in The Wild One. Patrick Wright, in Passport to Peking, quotes the Labour politician Morgan Phillips, who visited China as part of a delegation in 1954. ‘As I saw the great mass of cycles on the road I was reminded of a day in Bedford during the last war … The workers ...”