Shakespeare’s advice to writers? Use the pandemic (sometimes)
Shakespeare’s life was defined by the bubonic plague. What can we learn from the OG of pandemic writers? Make it count Today’s writers should deploy our pandemic’s memento mori – face masks, hand sanitiser, refrigerated morgue trucks – sparingly. Overuse lessens impact. Shakespeare knew this: he reserves images of miasmas (plague-spreading pockets of corrupted air)...
Survivor rage
David Hare succumbed to Covid-19 last March, as the UK government continued to dither over following the rest of Europe into lockdown. He contracted it in the confines of a cramped Soho editing room, and was soon experiencing a shortage of breath followed by complex symptoms he describes as “kicking around like I’ve swallowed a...
The Mourners’ Kaddish
Sometimes it is very hard to put words to experiences. In Adorno’s much used (and misused) own words, “there can be no poetry after Auschwitz”; the human soul and mind can conceive of no recreation of experience, no seamless relating to, or of, life through words alone, once the humanity of meaning has been so...
“Angels you will see only when you’re dead. Possibly.”
Think back to when you were very young, still capable of looking at the world with wide, wondrous eyes. When books had a breathtaking pulse and three-dimensionality about them, and every page seemed like an invitation to a mystic dance – a summons to enter a world of grand enchantment, of dark, mysterious corners and...
A complex complicity
“I’ve forgotten such a lot. Most of it, really. Certain things stick of course, although I’ve no idea why. I don’t understand how it works. I read something and then I go across the room to check what’s for dinner and completely forget what I’ve just read. I think, wait a minute, I’ve only just...
Visions and monsters
The Monstrous Child, which has just completed a very successful run at the Royal Opera House’s Linbury Theatre, is one of the first and most audacious examples of a new genre: highly evocative classical opera especially written for teenage audiences. Adapted from the YA novel of the same name by Francesca Simon with music by...
The supper
I bite the cookie I’d slowly brought to my mouth; it breaks, like bones being crushed. I grind it and picture the lattice pattern on its surface coming apart, reminding me of the game my grandfather taught me and invited me to play on many afternoons. Cookie, lattice, crushed bones. I bite down and feel...
Nilton Resende: Good and evil
A native of Maceió, Alagoas, in Brazil’s northeast, Nilton Resende has made a name for himself in multiple artistic fields. He’s an adjunct professor of literature at the state university; co-founded the Ganymedes theatre company, for which he adapted, co-directed, and starred in Thomas Mann’s Mario and the Magician; and has worked as a film...
Peter Shaffer: An immortal life
Our lives, our intellectual and emotional worlds, our humanity and imagination, owe a great, indelible debt to Peter Shaffer, for revealing to us the wonder and the dark mystery of our existence, for enhancing so starkly and so gently our knowledge of ourselves, of our history and society, its ethics, aspirations, the sheer mechanics and...
An unfailing life
On 29 April 1937 Virginia Woolf read one of her texts on the radio, the only recording of her voice known to have survived from a total of three BBC radio broadcasts. This highly introspective essay on the craftsmanship of writing was entitled ‘Words Fail Me’; four years later, almost to the day, Woolf would...
