Skip to content

Index: Commentary on Art and Literature

Reading Joyce in Guarani and Hieroglyphics.

Peter O’Brien: ‘O’Neill’s detailed and exhaustive overview not only tracks each and every translation to date, he also climbs into the personalities of the members of the translational tribe. He calls such people “clearly a very special breed – and clearly given to heroic endeavour.”’

Blue.

Dan Coyle: ‘The blues began for me in the middle of the 1960s during the so-called Blues Revival. That’s when record collectors and talent scouts drove the Southern backroads asking locals about musicians once known to live in those parts.’

Observing the suffering self.

Anthony Rudolf: ‘His philosophy was practical and his practice, developed during years of work when his resilience and courage were tested, had affinities with aspects of, on the one hand, the existential psychotherapy of Viktor Frankl and Hans Cohn (like Heimler, Cohn was also a poet) and, on the other hand, cognitive behavioural therapy, later to become so popular.’

Disinterest and Aesthetics II.

Tronn Overend: ‘With the collapse of the Modernist project, nearly one hundred years ago, “art has only a slender chance of survival”. Certainly, in Scruton’s view, the art of a Biennale or a Triennial would be dismissed as “sterile”, “kitsch”, a “cliché”.’

On the Spirit of Poetry in a Time of Plague.

Berengarten: ‘Curiously, far from separating us, COVID emphasises our community and, perhaps, even creates our communality, which is inevitably universal, since nobody (human), even if inoculated, can be entirely excluded from the risk of catching this plague.’

More trouble with genre.

Simon Collings: ‘The texts in “Why are you here?” comprise a spectrum of short prose forms, many of them deliberately pushing against accepted rules about genre.’

Plum Pudding Books.

Anthony Howell: ‘…ponder the garden of forking paths that a library may conjure up in the mind of a writer such as Borges.’

The Hills and the Desert.

Anthony Rudolf: ‘Jabès left Egypt for Paris after Suez. Vigée, after almost a year in the Jewish Resistance based in Toulouse (he was the last survivor), left for the USA where, as a French poet, he was an exile.’

Why I am not a philosopher.

Alan Wall: ‘I do have a fondness for the philosophical miscreants, the delinquents of the humanities block. Kierkegaard is at his best when he is destroying the philosophical pretensions of Hegel.’

Disinterest and Aesthetics.

Tronn Overend: ‘The Biennale is to celebrate art’s ‘capacity to create alternative cosmologies and new conditions of existence’. In this way, art emancipates us from fear.’

The wheel in the tree.

Ian Seed: ‘I walked into a square behind Corso Garibaldi, one of the few quiet spots in that area of Milan. I looked up at a tree’s bare branches against the night sky, and suddenly remembered the front cover of Penguin Modern Poets 12. I knew I’d made the right decision, even though I had little idea of what I was going to do next.’

On ‘Wood Circle’.

Rupsa Banerjee: ‘The poems, taken as isolated instances, do not generate specific images, but the collection as a whole evokes a fragility of reference which alternatively hinges on poetic language’s own resistant folds and the multiple surfaces of the object-world.’

Martyrdom.

Anthony Howell: ‘With manipulation, the fault-lines can be re-opened, just as they were re-opened in Yugoslavia, where NATO capitalised on Croatia’s Ustasha (pro-Nazi) back-story and sponsored Muslim fanaticism.’

‘The Ringstead Poems’.

Tom Phillips: ‘Robinson, his wife Ornella, and their friends the engaged artist Jenny Polak and economist Martha Prevezer – to whom poems in the sequence are dedicated – stayed with other family members at the Mill for several days during the summer of 2015 and initially perhaps ‘The Ringstead Poems’ might appear made up of a series of discrete moments and specific experiences from that stay, much in the manner of a poetic diary.’

Midrash.

Alan Wall: ‘When Christians decided to impose their figural readings on the Hebrew Bible, and to employ typology, they deemed the text before them to be allegorical, or at least to have allegorical potential.’