Piercing the Veil: Fiona Moore’s The Distal Point
The Scottish National Portrait Gallery was just a refuge from the pipers and Fringe flyers on Princes Street, so I …
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Kevin Reid’s Burdlife
Its high pitch and speed makes birdsong feel utterly alien. However, Marcus Coates’s stunning installation, ‘Dawn Chorus‘, closes that distance. …
Let’s talk about sex, baby – Jennifer Copley’s Some Couples
Suede’s debut single, ‘The Drowners’, enacts a war between Butler’s masculine, strident rhythm guitar and the androgyny of Anderson’s lyrics …
Timewatching – Luke Wright’s The Toll
My father’s watch clasps my wrist now. Big shoes to fill, his shoes. The removal of three links slimmed it …
Back to Black -Charlotte Gann’s Noir
Setting the tropes of film noir aside for a moment, Raymond Chandler’s iconic sleuth, Philip Marlowe, feels more like Eliot’s Tiresias: …
Knives out – Matthew Stewart’s The Knives of Villalejo
Our Gothic dopplegängers suppress our unease. Conveniently externalised, Mr Hyde and Victor’s creature stalk the margins. We reassure ourselves that the …
Ian Duhig’s ‘The Blind Roadmaker’
This review was commissioned for the T.S. Eliot Prize newsletter and is reprinted with kind permission. This review was commissioned for the T.S. …
Vahni Capildeo’s Measures of Expatriation
This review was commissioned for the T.S. Eliot Prize newsletter and is reprinted with kind permission. Vahni Capildeo’s Forward Prize …
Et in arcadia ego – Luke Wright’s What I Learned from Johnny Bevan
Evelyn Waugh’s Brideshead Revisited, published immediately post-war in 1945, elegises landscape and lifestyle. The outsider Charles Ryder is drawn towards …
Rachael Boast’s Void Studies
I am honoured to have been asked to review the titles shortlisted for the 2016 TS Eliot Prize by the …
Poor Rude Lines 