When I go to art galleries, and afterwards pop into the gift shop, I can never find postcards of the pictures I really liked. So I carry a ghost gallery in my head: Ed and Melody by Robert Mapplethorpe (1988); Stanley Spencer’s The Dustman (1934)…
At the Lowry in Salford, I twisted the postcard display in vain – because the images I liked weren’t the ‘matchstalk men’ that come to mind when we think of L. S. Lowry:
I’ve just published a new article, on hymns in twentieth-century literature. It spans D. H. Lawrence, W. H. Auden, Virginia Woolf, George Orwell, Louis MacNeice and Dorothy Richardson. And Stevie Smith.
I spent September and October 2018 at the Houghton Library in Harvard, as a Library Visiting Fellow, thinking about leftovers and aphorisms (and aphorisms as leftovers) in Edward Lear’s poetry, diaries and letters.
Suzie tested out filmed footage, symbolic imagery, collage (all juggled with running a busy Masters course at NUA) but nothing seemed quite right for this strange, resistant little text. Describing Arthur riding through a blue world – coloured by mysterious gigantic cornflowers, which tower above his head – the poem challenges us to separate the literal from the symbolic, the metaphorical from the nonsensical.
So it was very special to be able to watch a whole rough cut of the film, for the first time, on 10th August 2018, at a session of the ReLit Summer School run by Dr Sally Bayley.
I happened to see on Twitter that the Abingdon County Hall Museum, just a few miles from Oxford, was holding a week-long exhibition on the life and work of Dorothy Richardson. I’ve got a great dissertation student working on Dorothy Richardson this year, so I decided that this counted as teaching prep. I left my (almost-finished) thesis behind for the mid-week trip to Abingdon.