Kone’s drawings are beautifully composed and are not without a healthy dollop of black humour (e.g. ‘I is for Ingrid who trusted her friends…’) but for the most part they are quirky and amusing rather than disquieting, as is almost always the case with Gorey. They will raise a wry smile, certainly, but they won’t put you on edge as Gorey’s drawings are wont to do.
Cemeteries are strange spaces, otherworldly (a gateway to the afterlife) yet of this world. You see an angel’s wings and, looking lost, a child’s teddy bear. That glint of sunlight piercing oblivion’s black veil is sacred, holy are those red and pink flowers laid by the earth in which the Dead are buried – not a uniquely human custom, for the Neanderthals buried their loved ones.
An artist who set himself the task of capturing consciousness on the hoof, making tangible the fleeting quail of phenomenal experience, Tarkovsky made things hard for himself and harder still for all directors who would follow in his footsteps. Man, he set the bar high. Even Bergman, one of the true greats, acknowledges that he is without peer.
The atomic bomb, that infamous masterpiece of twenty-century technology created by the allies’ best brains trust and costing two billion dollars, was almost brought undone due to military maintenance malfunctions. Craig Collie has skilfully put together a splendid chronological record of mankind’s most successful killing implement and the combined consequences of a double dose of its destruction.
These stories, which function to cast a dim aura to the otherwise miserable objects, are “Unerhörten” in the two sense of that German word: they are “unheard” and “unheard of”—unknown and outrageous, suppressed and surprising. But for the non-German speakers, this adjective carried a third meaning: it was impossible to hear them, because all the stories could only be read in German. Until now, that is. The 78 stories in the entire collection have been translated into English by You Nakai and Alexander Booth, assembled together following the order of their weight, and published as the official catalogue raisonné of the museum.
This is a book that has the potential to help creative writers ‘make knowledge festive’ in the process of creating their research projects. It is structured logically so as to make for optimal comprehension. It is superbly written and gives exciting examples of writers and books that illustrate the process of researching creative writing and writing as research.
Baranay’s memoir is about travelling, art and culture(s) and food, home (and not having one), writing, and friendship. She begins by telling the reader that an inheritance has allowed her to plan a trip to Europe in 2006, one that will enable her to live well while she’s travelling but not be away too long as she does not want to stop writing for too many months. The author does not expect to write while she’s away, which gives us the first hint of a commitment to writing that is strong but realistic. In fact, she does write, and she describes how her life really revolves around writing and reading as well as friendship and human connection.
Marchant’s extensive tour of a range of placebo based trials around the world where doctors and patients who are seeing powerful results (thereby perhaps changing the whole meaning of the word “placebo”) on some previously intractable conditions. It’s not just the “power of positive thinking”, but actual real chemicals such as endorphins, dopamines, and hormones being released in response to a number of different stimulations.
At last, a grown-up book about the issue of the moment. David Owen’s booklet was written before David Cameron had completed his renegotiation, so-called, of Britain’s EU membership. Since then Owen has come out in favour of leaving the EU, a clear indication that he doesn’t believe the prime minister has got a good enough deal.
Regardless of how deeply Caro looks within for answers, what she never does is apologise. There’s absolutely no shame here—not of her mental health issues, her parenting, her outspokenness, her relationship choices, her political affiliations, her atheism, her engagement in public conversation or her career choices. By not apologising, even as she shares her worst mistakes, Caro encourages her readers to show compassion to themselves.