Anthony Costello and Emma Storr: ‘One interpretation of the relationship between artist and doctor is that Gachet’s life-long interest in art manifested itself in the wish fulfilment to be Vincent van Gogh, so he dressed like his patient, he tried to paint like his patient and he made a second ‘fake’ copy of the eponymous painting. He also collected his patient’s paintings, painted a deathbed scene so that his painting became synonymous with the great Vincent van Gogh in death and he became custodian of a cache of Van Gogh paintings.’
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About the Trollope Prize.
1. ‘At Ladywell Cemetery’ and ‘Rossiya’: new poems by Carol Rumens
2. Alan Wall reviews the autobiography of painter R.B. Kitaj
3. Two new poems by Carola Luther
More below…
4.and more…: Andy Owen asks ‘Why write about war?’ | Data-driven lit-crit from Stanford: Chloë Hawkey on Canon/Archive | Fiction the size of a small deckchair by Nigel Ford: The Attendant | Ian Seed’s new translations of poems from Max Jacob’s ‘The Dice Cup’ | Six pages from ‘Lots of Fun with Finnegans Wake’ by Peter O’Brien | Tronn Overend: An objective theory of Modernist aesthetics | Alan Wall’s own Midrash | A part-time life: James Gallant: ‘The Adjunct’ | John McEwen on the cars, carpets and chemistry of the National Gallery’s John Mills | John Taylor translates new poems from Franca Mancinelli’s Little Book of Passage | A cleansing sort of diatribe by Anthony Howell | The Wild Child by Laura Potts | Peter Riley on Poetry deformed in translation | ‘Fair’: Martin Thom visits an arms bazaar | A charming sense of the new by Christopher Landrum | Men with women: three very short stories by Michael Buckingham Gray | Artists and their physicians: Van Gogh and Dr Paul Gachet by Anthony Costello and Emma Storr | Keith Hutson: Seven sonnets | Charles Vecht: Santiago Ramón y Cajal’s Dreams of Nerve Cells | Anthony Rudolf on Zbigniew Kotowicz | Simon Perril: The Man Who Turned to Paper—and three more new poems | Christopher Landrum, caught ‘between history and myth in Austin, Texas’ | 2017 Trollope Prize I: Joel Simundich: Trollope’s ‘Feeling for the world’ in Fixed Period | 2017 Trollope Prize II: Katharine Scott on ‘Resisting Temptation’ in Trollope’s Small House | The Making of Mugabe by Lance Guma | Peter Riley reviews The Poetry of Autumn | …and reflects on the Transylvanian melancholy of zorile | Sonnets for all, gathered by Anthony Howell | Roger Fry and the formalist project by Marnin Young | Post-impressionists by Walter Sickert | Post-Impressionism by Roger Fry | On ‘The Manager’, A critical dossier edited by Paul Scott Derrick devoted to Richard Berengarten’s long poem | David Eisenberg tracks ‘The Utopian Animal’ ||| For much more, please consult our partial archive.
Contact The Fortnightly.
Books received: Updated list.
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Readings in The Room: Saturday 5 May at 7.30 pm at The Room, 33 Holcombe Road, Tottenham Hale, London N17 9AS – £5 entry plus donation for refreshments. John Welch, Jane Solomon, David Cooke. All enquiries: 0208 801 8577Poetry London: Current listings here.
Shearsman readings: 7:30pm at Swedenborg Hall, 20/21 Bloomsbury Way, London WC1. Further details here.
New York: Time Out’s New York listings here.
2011: Golden-beak in eight parts. By George Basset (H. R. Haxton).
2012: The Invention of the Modern World in 18 parts. By Alan Macfarlane.
2013: Helen in three long parts. By Oswald Valentine Sickert.
2016: The Survival Manual by Alan Macfarlane. In eight parts.
2018: After the Snowbird, Comes the Whale, by Tom Lowenstein. Now running.
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DEPARTMENTS
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By Roger Berkowitz, Juliet du Boulay, Denis Boyles, Stan Carey, H.R. Haxton, Allen M. Hornblum, Alan Macfarlane, Anthony O’Hear, Andrew Sinclair, Harry Stein, Eugène-Melchior de Vogüé, and many others. Free access.
· James Thomson [B.V.]
Occ. Notes…
A dilemma for educators:
Philosophy and the public impact.
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Michelene Wandor on Derek Walcott and the T.S. Eliot Prize.
.Nick Lowe: the true-blue Basher shows up for a friend.
More daily in
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Ernest Renan.
George Saintsbury: ‘[Renan’s]] gospel may certainly be said to be a vague gospel, and the enemy may contend that Morgane la Fée is architect and clerk of the works at the buildings which he so industriously edifies with graceful words and, at the same time, with a vast quantity of solid learning. But of his literary skill there can be no question, and scarcely less of the admirable character of his intentions.’