Laura Seymour on Rachel Israel’s Keep the Change (2018) I was attracted to director Rachel Israel’s Keep the Change (Kino Lorber, 2018, which began as a short submitted as Israel’s film school thesis) because it is a depiction of autism and learning disability performed by autistic actors.
Mark Blacklock on J.G. Ballard’s ‘What I Believe’ (1984) Researching the non-fiction of J.G. Ballard I return again and again to ‘What I Believe’, first published in the inaugural issue of the French Magazine Science Fiction in 1984, a response to the editor Daniel Riche’s
Sasha Dovzhyk recently completed her PhD in English and Comparative Literature. She is now a Wellcome Trust-funded postdoctoral researcher at Birkbeck School of Arts exploring the tropes of disease in the arts of Decadence. Poets and writers, theatre directors and performers, documentary photographers, historians, and
Steve Willey on Reading as a Writer and Critic on the BA Creative Writing and English “The Chamber is a Drowning Thing” ‘House of Commons Suspended after Water Pours through Ceiling’, read the headline on The Guardian (Thursday 4th April, 2019). ‘In the Commons
Joseph Brooker on Stan & Ollie (2018) Turn to Hardy in any alphabetical order and you find: ‘See Stan Laurel’. David Thomson Stan & Ollie starts in 1937, with the duo near their commercial peak on the set of Way Out West. But this prologue is brief:
Joseph Brooker on Colm Tóibín’s Mad, Bad, Dangerous to Know: The Fathers of Wilde, Yeats and Joyce (2018) Colm Tóibín’s short book collects three essays published in the London Review of Books, and before that delivered as the Richard Ellmann lectures in Modern Literature at Emory University in
Luke Williams shares notes from his presentation for Research Day on writing Diego Garcia, a collaborative novel with Natasha Soobramanien. The provisional notes reflect that the novel is a work in progress, as well as the provisional nature of researching and writing in collaboration. Diego
Julia Bell & Jean McNeil (UEA) on Day for Night: Landscapes of Walter Benjamin at the Peltz Gallery The process of taking a photograph in the day and deliberately underexposing it so that it looks like night is a tricky technical process, but it produces
Joseph Brooker on a special screening of A Taste of Honey presented by Birds Eye View JO: I wonder if we ever catch up with ourselves? GEOF: I don’t know. JO: Now you’re a real Edwardian, aren’t you? GEOF: What’s that? JO: A proper Ted!