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Reviews

Hamnet Gives Sense to Shakespeare’s Genius

By Cecilia Martinelli

Art is as much about what is said as what is unsaid. The beauty of Shakespeare’s lyricism lies in the exact words chosen, and the exact words left out. Once we question the importance of the unseen in creating art and genius, it appears that Agnes is the body to Shakespeare’s brains. She renders possible his canonical creations by possessing the burden of grief and parenthood so that he may escape reality and create reflections of the life that she continues to uphold. 

People have long philosophised how geniuses come about – what invisible forces create these impossible characters? It is often women who uphold them; mothers, wives, sisters, daughters continue churning their buttered existence. Both Maggie O’Farrell and Chloé Zhao, in their retelling of the untold story of the West’s most proficient storyteller, present the tale the ‘canon’ has forgotten to tell.  Theirs is not just a story of motherhood, but rather a tale about women, who have always carried men.

Agnes (Jesse Buckley) centres the film as its protagonist: mother, wife and healer. She takes on a completely protective role over her children, grieving in fear of a child’s death before any loss has even taken place. In the twins’ birth scene she panics, foretelling the absence of a child at her deathbed; she expresses a carnal desperation for the safety of her family. While her husband (Paul Mescal) provides from afar, she takes to constantly protecting her children. Her bewitching role as town healer adds to this sense of responsibility as she feels she can control their health; when this power slips with the death of her child she screams in a grief so visceral we cannot bear to watch.

We intrude upon this ineffable pain, forced to partake in it, unlike her husband. He arrives unexpectedly after the death of Hamnet, trespassing on his family’s grief to feel the pain momentarily before escaping it. He leaves his lamenting wife to digest his loss independently, because he cannot bear to do otherwise and is not expected to. Instead, he crunches it into poetry and performance. Agnes tells him, “you are caught by that place in your head…not even the death of your child can keep you from it”. She is resentful of the freedom he has to retreat from the world into his mind, where pain becomes fiction and fancy.

O’Farrell and Zhao rightly give sense to the genius of Shakespeare in telling the story of those who upheld his reality as he sank deeper into fantasy. They do not philosophise the playwright to understand him so much as humanise him, as a man who was loved and sustained by women. His wife and mother were forced to go on living the life he couldn’t bear. And so, as they lead the tale of Hamnet, O’Farrell and Zhao never call Shakespeare by the name he is famed for. He need not be a protagonist now, as he will be the West’s literary protagonist for years to come. Meanwhile, his mother Mary and wife Agnes will tend to his garden, clean, peel potatoes, bathe, shield his children, watch those children suffer, die, grow, lose parts of themselves, smile, fall ill, play and cry. All the while he will write.

Featured image: Pinterest

Categories
Creative Writing

The Captain

By Freya Bertham


From the doorway, the world spreads marvellously before me. Streams ribbon through the landscape like veins and the earth convulses with evening life. Teeming with quiet activity against the backdrop of the setting world, the shoulders of the land swoop in drooping shapes down towards the lake, pooled between the arms of the mountainous bodies and suffused with the reflections of low hanging trees tinged pink by the dusk.

On the porch, my grandfather sits cocooned by this worldly beauty. His hands, like folds of thick velvet, rest on the arms of his wicker chair and he silently stares out across the terrain, intoxicated by the heavy August air, which hangs sultrily with the oppressive floral sweetness garnered from the moist summer.  

My nightdress billows around my ankles, taken gently by the humming wind. A chime is caught by the zephyr and the humid evening is scattered with a light tinkling.

The lake stretches out gloriously. In the weeping light it looks like a mirage of deep, liquid silver: a passage to another, ethereal world. When I was younger I’d often spend long afternoons crashing into the water to observe the slivers of golden fish jetting about below the surface. They looked like tiny stars littering the depths of a universe, and I became an astronaut, face submerged, suspended in the liminal space between the world I inhabited and a turbid mystery.

Tonight the small waves roll in noiselessly.

The figure on the porch does not stir. Perhaps his mind conjures fantasies, which colour the world in resplendent ways I cannot fathom. Maybe they are not fantastical, merely thoughts he indulges in to escape the time that seems to have loosened its grip on him. Somewhere lost in the pathways of his mind, he could be on a great journey travelling through lands blanketed in golden barley, wandering through precious streets he used to dawdle along when he was a boy. He could have slipped into a world where he does not find himself trapped by the limitations of his own body; where the medics do not pay him visits; where he does not have to take the four yellow pills, the two pink pills, and the two white pills each morning. I could spend forever placing him in the spaces of poets, of artists, of inventors, of voyagers – but he is not anymore.

Instead, he is a victim to his own brain and lost to the fabric of blank periods of time where he ceases to be anything at all. He is stuck watching the world without absorbing it. He is numbly looking out across the rolling land, and his eyes will be glassy and irritated because he has forgotten to blink. He is propped up, overcome by the pulsing of his heartbeat and the clanging sounds in his head.

When I was little, I’d climb like a leopard onto his lap and we’d sit together on that wicker chair watching the sun dip below the horizon. He’d tell me stories of when he was the captain, his adventures, how he roamed the seas, undertook expeditions others would never dare. He was infallible, undefeatable; a man who could wrestle with the tempestuous waves Neptune hurled at him and come out the victor each time. 

A pair of swans descend elegantly down to the water and break the glass surface. They shake themselves and slowly swim together across the lake. I imagine him bewitched by their effortlessness, eyes watching the ripples intently as they bloom out behind the creatures, how he would be charmed by their smooth movement. 

It’s all going to change. I’m standing on the periphery of tomorrow and suddenly this place feels like something that will become forbidden land, a dreamscape intricately fashioned to the soles of my feet, and ripped away overnight. In years to come, I’ll unintentionally shape the memories of my time here with desperate longing until I mould the melancholy into poignant nostalgia. I’ll be standing here limply as an observer, sanctifying everything to the point that it becomes surreal and idyllically adjacent to time. 

Our peace is ruptured by the birds pulsing from the neighbouring trees. They spiral into the air like billows of black smoke. They squark, madly; scream at one another, malevolently. Crows don’t twitter like songbirds and they don’t hoot deeply like the chorus of birds in the morning, they lurch and croak and cry and fester in trees waiting to interrupt tranquillity. They are an omen of death, a funeral march for this perfect place we shall have to abandon. Time has caught up to us, and bundled the furniture into large vans, left naked nails where pictures used to line the walls, taken the lady of the house. 

Behind me, there is a chasm where there used to be a choir of gentle voices in rooms scattered with memories – trinkets from places I have yet to see, jasmine scented draws filled with photographs of ancestral faces that I cannot assign names to. There were cabinets lined with hand painted plates, pots laden with silverware, glass cases boasting collections of angel sculptures with faded blue wings. There was a home I knew better than the ridges in my hands, a haven that already exists only in my memory. 

He will have forgotten the place he breathed life into. Forgotten why he has to leave it. Forgotten the laughter that reverberated through these rooms; forgotten the sound of small shoes as they clattered into the house leaving muddy trails behind them; forgotten the bonfires we would build in the garden that would burn until the morning of the next day; forgotten the sound of the floorboards on the stairs, the way they creaked, exhaled differently and familiarly under the weight of each person; forgotten the smells that came from the freshly made raspberry jam in the kitchen; forgotten the hands of the small children who picked those berries; forgotten the unruly garden that he used to nurse until it was immaculate; forgotten the door which had all our beaming faces tacked onto it; forgotten that he used to feed the birds with an array of different seeds in the morning; forgotten the golden curls that would float to the floor when they were trimmed with the kitchen scissors; forgotten the cheeky giggles of the children dancing wildly in the sitting room; forgotten the breathlessness of the soaked bodies that would emerge armed with snorkels from the lake. Forgotten the life that was his. 

Though, he would never forget the shuffling of her slippers on the carpet – that I am sure of – and I am certain too that the faces of the ones he loves are etched so deeply in his brain that in their own way, they too shall never be fully forgotten.

From the chair, the captain suspires deeply. A robin lands gracefully on the porch balustrade in front of him. I know it has captured his attention, for he leans towards the bird as if compelled to reach out and touch it. Its orange breast puffs out proudly, vibrant against the collapsing sky. 

I turn and leave him to slowly resurface from the abysm of the sea.

Featured Image: Breannah Holton

Categories
Poetry

addictive things

By Emi Sharples

 

the smell of my new ‘taxi driver’ perfume

orange juice from grey dining hall

smoking

mint tea from the forest at home

replaying that perfect four-song run near the beginning of the album

hashbrown

deleting hinge

tracing the line of muscle memory i have for my favourite karaoke song

irn bru before they changed the recipe

that sense of endearment for claypath deli even though their tables always wobble

thinking ‘i should start a playlist’, getting four songs in, and then never using it again

making eye contact with the security guys at tesco when i’m buying for pres but not sure what to say since ‘thank you’ doesn’t feel an appropriate response to them just being there

marvelling at evening light shining through windowpanes of somewhere so familiar

bringing you up all the time

imagining the colours of bedroom in arles in my mind’s eye

breaking the habit

the opening chords of eagles’ “take it easy”

deleting hinge again 

having the same elated response to seeing cheese scones on the menu 

singing the guitar solos with more vim than the rest of the song

laughing a little too loud at your jokes then feeling silly and like i’m in a panopticon and everyone saw that and now knows what i didn’t want them to know

falling asleep at afters on red wine nights 

revelling in the feeling i might have finally changed

never changing my order (i know what i like)

exchanging poems with friends and not feeling so stupid in putting words on a page

reapplying the lipstick i landed on as ‘my colour’ when i was seventeen 

obsessive to-do lists

having a favourite mug (with the slogan “gym? i though you said gin”)

using brackets in my writing after my favourite english teacher told me i was above that 

never being able to delete concert videos in case i forget them

guessing what you’re listening to 

updating my halloween costume list

feeling a sense of myself return when i stumble upon a beautiful sunset

novelty socks

writing letters to people i’ll never send and mentioning details that are a little too specific and consequently not being able to publish that writing so now i’m stuck

writing this list of addictive things

 

 

Featured Image: Emi Sharples

 

Categories
Perspective

The Politics of the Soil: The Entanglement of Human Violence and the Natural World

By Isabella Tarttelin

Complaining about the weather is our national pastime, as ancestral as a hot cup of tea, but these days, ‘terribly tense’ applies equally to the afternoon forecast and the morning headlines. As an unusually hot September day blurs the line between a changing climate and a turbulent political arena, it is time to look closer at how we talk about both spheres and find that they are not as separate as we have been socialised to believe. Through literature, film, and so many of the creative arts, there is a solidified dichotomy between the greys of metropolitan and the greens of Eden. Take, for example, the rise of Romanticism; William Wordsworth wrote an almost 10,000 line poem describing the natural environment as an otherworldly place that is entered through a deep spiritual understanding. I may not have reached the same development of my prefrontal cortex at the humble age of 20, but can I not claim connection with nature without having undergone some sort of spiritual psychosis? Or is the reality far simpler, and that the boundary between the human and natural worlds is entirely artificial, and everything we do is inherently natural, because we are? In exploring this question I’ve leaned heavily on Timothy Morton’s ecocritical work, The Ecological Thought and how the boundary between contemporary and natural are explored within the fields of creative works, particularly Seamus Heaney’s Field Work and director Martin McDonagh’s film The Banshees of Inisherin.

In The Ecological Thought, Timothy Morton argues that the modern climate crisis can only be resolved if humanity awakens to the reality of the deep, inescapable way in which we are connected to other beings. This perspective stands in direct contrast to William Wordsworth’s Romantic ideal, which relies on a lofty spiritual pilgrimage to access a sentient, separate, and capitalised ‘Nature’. To truly embrace Morton’s philosophy and reject this romanticised illusion, we must turn instead to the visceral poetry of Seamus Heaney. Written against the tumultuous backdrop of the Troubles, Heaney’s work shows a landscape entirely entangled with human conflict. In his poem “Glanmore Sonnet IX”, Heaney reflects on his retreat to County Wicklow. Seeking refuge from the violent political climate swarming Belfast, Heaney relocated his family in 1972 where they stayed until 1976, under the assumption that fresh immersion in the rural world would offer a sanctuary. The speaker becomes confronted by a rat, and promptly kills, following which he is wracked by guilt and shame for doing the very thing he moved for four years to escape from. As the speaker laments on line 5: ‘Did we come to the wilderness for this?’, the unanswered question underscores his guilt. By using the word ‘wilderness’ to imply a total removal, the speaker desperately aims to draw a line between human savagery and natural peace, instead revealing the boundary already collapsed. By fleeing Belfast for County Wicklow, Heaney tries to cross an imaginary border from a political world into a natural one, treating nature as a passive, neutral sanctuary where human conflict cannot and should not exist. However, the intrusion of the rat and an immediate resurfacing of violence smashes the speaker’s illusion and reinforces how human politics and natural ecologies are completely interconnected, just as Morton argues. Through the speaker’s lament and the penultimate positioning of the sonnet, Heaney presents the escape to Glanmore Cottage as a failed one, as it proved that human politics of violence, trauma, and choices are entirely native to the natural world. Such concepts are not alien to the ‘wilderness’ but are instead interconnected, as Morton emphasises.

The idea of violence, traumas, and petty social politics being native and interwoven into rural spaces is explored further in the film Banshees of Inisherin. If Heaney proves human politics cannot be left at the boundary of the ‘wilderness’, Martin McDonagh’s 2022 film The Banshees of Inisherin completely annihilates the boundary itself. Set near the end of the Irish Civil War in 1923, the film takes place on an island off the west coast of Ireland. While the fictional remote island of Inisherin is isolated from the actual fighting, gunshots and explosions from the mainland conflict act as a backdrop to Colm and Padraic’s trivial arguments. In McDonagh’s narrative, such an ambient and violent backdrop completely infects the seemingly romanticised, spiritual sanctuary from the distant gunfire on the mainland. The isolation in fact becomes a claustrophobic stage where any artificial divide between human affairs and the natural world is completely torn down. The feud between Colm and Padraic becomes trapped within their own geography, escalating into arson and mutilation, proving that the island’s sweeping cliffs and rolling hills offer no romantic peace, but instead a catalytic cage. Passive background elements become intimate casualties of human pettiness, when Padraic’s donkey Jenny dies from choking on Colm’s mutilated finger. By showing the physical toll our ideological conflicts take on the supposedly ‘separate’ natural world, McDonagh captures the ultimate reality of our ecological existence: our politics do not happen apart from nature, but happen within it, with catastrophic consequences for the entire living ecosystem. McDonagh’s narrative therefore runs parallel with Timothy Morton’s insistence on changing our outlook on the natural world as one that enshrouds and is enshrouded by the human experience.

We return, then, to our unseasonably warm September afternoon and our polite complaints about the weather. Our instinct to separate the natural world from our political structures has always been a comforting lie, a way to pretend that the ecosystems we inhabit are merely passive backdrops to our human dramas. But as Timothy Morton’s interconnected thinking reminds us, there is no separate fortress of the realm called ‘Nature’ to escape to. We cannot leave our trauma at the threshold of Heaney’s wilderness, nor can we pretend our ideological violence does not bleed into the rolling hills of McDonagh’s Inisherin. If everything we do is inherently natural simply because we are, then ecological responsibility is not a spiritual luxury for the enlightened few, but the crux of our political reality. It is time to drop the illusion of any boundary and admit that the storm inside Westminster and the storm outside our windows are parts of the exact same sky.

Featured Image: Cara Crofts

Categories
Creative Writing

My Morning Routine

By Lenna Suminski

I don’t want to know what you did today. 

I don’t want to imagine you continuing on in a dress, in happiness or in duress. I don’t want to know if you are painting still, I don’t want to know who you are painting for. I don’t want to see your Pinterest boards, I don’t want to know how you’re spending the summer keeping company with nuns. I don’t want to know how you fare, how you do your hair now – I don’t want to know where you’re going, I don’t want to know where you’re planning. I don’t want to know what you’re dreaming of if I can’t see you twitching in your sleep. I don’t want to know your favourite music now or what you will listen to next, I don’t want to know what you did today or what you will do yesterday. I don’t want to hear you sing if I can’t stay. I don’t want you here with me, in my nightgown on my bed, if you’re not going to stay – don’t. Don’t make me say it, don’t make me ask, don’t make me admit what I cannot mask. Don’t – don’t tell me about school or your friends, don’t make me feel what it feels to be with you. Don’t taunt me, stop leaving, I’m hurrying, don’t go on remembering. Don’t tell me how it feels. Do not tell me, please do not let me know, what it would be like to have you. 

I don’t want to know what you did today. 

–

I am panting. It is night and I am panting in the Savoy. The windows are shut though I am sure I left them ajar. I dreamt a scene, I dreamt a story, I dreamt a dream I don’t want to know. I am panting and my silk slip is clinging to my skin. It is night and I am sweating in cotton sheets in this ensuite. 

I am blinking, fast, trying to focus on the light that is blurring, suddenly this bed is a trap so I swing my legs over the edge and try to climb out of my skin. Stumbling, I leave him snoring to my left and brace myself to stand. I am parched, I am dizzy from white wine, my toes touch the carpet and I tip-toe to the bathroom, mapping out the route in my head, navigating my steps in the black. There’s glitter on the walls, silver stars shining from a bird’s beak, on the wallpaper there are mountains and skies and dirt that is soft. Hand-painted in beige hues, the same image shifting from this corner to that one. I cannot make out the lines of the blue-black feathers or if they even are the ones that fly. Nothing moves anyways, except my bony body sleuthing past these scenes. 

I am panting still – across this hotel room – my hand slips against the glass door of the closet and I knock into a chair. A stir – and I hold my breath. He turns in his sleep and I can see through a squint, he reaches for me, a naked hand searching for my body and it limps against a feather pillow. He snores. 

I take a breath in and let my feet search for the cold tiles. I slink forward toward the His & Hers sinks the way I used to tip-toe up the marble steps of my house. Turning on this swan tap I am hoping for the relief of cold London water – it is flowing through my fingers. 

I am panting as I look up at this girl – this woman – sweating from a nightmare. Her cheekbones are angular and her lips pink and wobbly, shoulders slack as I lean against this frigid sink, water pooling in my palms. I tighten my jaw, focus my eyes and take a closer look. I take her in. 

Nipples hard from the fright or from their piercings, poking through the purple slip dress that glides against her body seamlessly. Three hair ties on her right wrist waiting to leash the long brown hair that shies her eyes from sight. And the eyes – frantic. Frantically deciding what to scrutinize in the mirror, to land on a zit or stray eyebrow hair, searching, searching, searching – to no avail. Eyebrows that frown but could not be more detained in their shape and curve and color. A heart-shaped face that will probably start whimpering from the smoking, but tight and right with the upkeep: sunscreen, lotion, gua sha, masks. She is sculpted, given and maintained, to perfection. For now. 

I am splashing water on that perfect face. I’d have to moisturize again. 

I steady myself against this granite – it’s blue-blooded – my feet stay pointed, for some reason. There are two toothbrushes on the bathroom counter, concealer stains on the hand towel, the bath mat I am standing on is wet. Below the mirror is a used tea bag in a coffee cup dressed in lipstick stains. I catch her in sight again, sweat and wet dripping from the slightly-too-short chin and dropping to the floor. Moving my hands to the back of my neck, I look up at the ceiling, nothing but light. 

Leaning back and back, I put my hands up and stretch – towards the chandelier. I lock the door. Then I catch my breath, and collapse at once to the floor. I let myself fall undone. 

–

In the dream you were warm, and I was funny. We were laughing. Somehow, I’d imagined a utopia. It was university, but we took classes in trees. Every pupil belonged to a species: oak, birch, pine, cedar, fir, maple and ours – willow. It was twilight, my favourite time of day, a time where possibility still reigns but tragedy exempts, and I looked down at beautiful girls walking under the branches of my weeping willow. I could taste their smells, flurrying flowers of rose and moss and lily and salt. Their eyes twinkled like fairy lights, like the ones teenage girls hung in rooms, they hummed lantern tunes on the way to apothecary lessons. Through the woods that we called home there was a path for people, winding and small, manageably absorbed. I had raced from behind one rock to another to get to our willow. I wrote a poem, I don’t know what of, but it called for you. I tied it with a red ribbon and hankered it onto the lowest-hanging branch. I hoped you would see it, I knew you would see it. 

I think you did. Suddenly we were strolling down King’s Road, past boutiques and shops that glittered with leather and alligator along Sloane Square. In a pottery shop we stopped before a wall of mugs, just around the corner from our forest-school. It smelled of rain, right before or immediately after a downpour, I could not tell. Examining these ceramics, we weighed them in our hands, imperfections calling to us to choose one for the other. A mug with mushrooms and green dandelions, a cup with a handle of birds, two with pink waterfalls and four that were molded from jade. I scrutinized them all one by one, trying to discern the tupperware for your treehouse dorm. I am hungry for buttered bread and broth, after shopping we’ll go to the pub, play cards and huddle close in a booth. 

You had seen my letter, I called you and you came. I watched you from atop the branches, stopping abruptly in your step, picking up the envelope, and smiled. In the pottery shop I stood in front of you looking at the shelf of clay, you draped your hands over my shoulders and I leaned back – we are admiring the scenery and you are warm against me and I am funny in front of you. You laugh –

Behind me is him holding me tight. 

–

I see myself in the reflection of the porcelain bathtub. Is it still night out? 

This girl is a pool of purple, hunched tightly to keep from melting. A thousand shades of brown circle a halo across the tiles, falling in pieces and strands and catching between her hands. Hands pink manicured, digging into her head, fingering her temple to try and impede this epic pounding. Knees crammed against her chest, a concise ball of prey ready, but not wanting, to bite. Teeth white and neat and gnawing at her inner cheek – the taste of metal. The sound of a pule escapes, then two, then three, then at once, finally – a cry. 

Is it the wine or the Ambien? Is it the bed or the man? Is it your voice or a song? Is it a metier or a meteor? Is it a want or a must? Is it a necessity or a consequence – imaging you – is it me or is it you? 

Before I get an answer my stomach twists. 

I am lurched into myself when my gut slices. Cuts down my spine and across my forehead, chest, shoulder sides – pain that is sobering enough to get me to want to sit up, and I’m all the more wary that I can’t. With the pits of my palms I lift my body up half-way, enough to half-crawl like a half-dead centipede dragging along the bathroom floor. My legs won’t respond, and everything below my waist is burning. Waves are knocking into me, I recall the particular feeling of desperately holding onto coral when I snorkel, as tides hurry to slam me into the reef, again, again, and again. My body is puking something up. 

Four counts breath in, four counts hold, four counts breath out. I think I’m having a panic attack. Regulated breathing – a trick from the books, and it’s saved me before when I’ve taken it too far. In between the second and third round I make it to the toilet, below my belly button something is kicking out at me, battering my insides. 

My ankles are folded under me when I feel it start to go. I know – chased faith one too many times, took chance at her liberty and now – she’s pointing at me, smoldering. Stupid, stupid. My heart is hurting, that’s all that I’m thinking when I see all that red come out. My hands lined up on the floor, I put my forehead to my fingertips and barely get to say I’m sorry my –

I am bent in my bloodied mess and I am not crying for what is lost. I look up at her –

Against the marble is a woman – a girl – howling in a brilliant maroon pool. 

It is night. He snores. I wonder what you will do today. 

Featured Image: Aaliyah Angir

Categories
Poetry

Lambing

 

By Aaliyah Angir

 

Plough on, plough on 

into the night 

the fledgling calf 

driven on by

the farmer’s might 

 

Plough on, plough over 

the pungent fright 

ripped from her

mother 

no time to fight 

 

Plough on, plough on 

the bitter taste 

of cold iron,

metallic blood

the farmer’s haste 

 

Plough on, plough in 

to biting cold 

empty expanse

till flesh grows old 

plough on.

 

 

Featured Image: Thérèse-Marthe-Francoise Cotard Dupré, Dans le clos de la ferme. Musée des Beaux-Arts Jules-Chéret, Nice.

 

Categories
Perspective

In Defence of the Daub – Reflections on Winston Churchill: The Painter Exhibition

By Lara Rusinov

‘When I get to heaven, I mean to spend a considerable portion of my first million years in painting.’ These are the words of Winston Churchill, Britain’s prime minister through the Second World War and again in the early 1950s. Yes, I know. I was thrown too on discovering not only that Churchill painted, but that he painted rather well, and prolifically.

Some reviews have dismissed Churchill’s canvases as amateur and short on technique. Yet there is more to learn from our former prime minister than the limits of his technical abilities as an artist. The exhibition, Winston Churchill: The Painter, housed in The Wallace Collection in London until 29 November 2026, is a heartfelt defence of the amateur, a reminder of the importance of stepping away from the real world into the realm of creative sublimity.

For me up until this point, Churchill has been the prime minister of VE Day, the booming voice on the wireless, the bald, cigar-chomping, hunched figure of The Crown. This exhibition pulls the pedestal out from under him and he comes down to earth to meet us face-to-face. Not only are Churchill’s paintings displayed, but his personal possessions too, including his spectacles, individual brushes, and travel easel. While these objects add an interactive level to the exhibition, more significantly, they play a part in making us feel closer to the ‘human version’ of this figure who we feel we ‘know’: we see Churchill as a person rather than simply as a statesman. The cult of the politician dissolves; in its place we are gently introduced to Winston, a man we can begin to unlock and understand. 

In his book Painting as a Pastime, Churchill explained that ‘painting is complete as a distraction… I know of nothing which, without exhausting the body, more entirely absorbs the mind.’ Churchill makes it clear that the goal of his painting was not to produce critically acclaimed masterpieces, but rather, he painted to escape. Churchill himself even dismissed the value of his own paintings, referring to them as ‘daubs’. This raises the question: must art be ‘good’ to be worthwhile? For Churchill, painting was not only a worthwhile escape, but essential. To put it in 21st-century terms, it was the statesman’s detox, and an addictive one at that: the almost sixty works on show at The Wallace Collection make up only about a tenth of his estimated total output. The exhibition makes an affecting case in defending creative impetus as a vehicle for increased productivity. Our time away, absorbed in creativity, is key for enhanced performance. Seemingly, some of the apparently useless things we do might well turn out to be the most useful.

Perfection is not always attainable, nor always the height we should be striving for. Churchill valued the simple pleasures associated with his creative hobby: ‘we cannot aspire to masterpieces,’ he said; ‘we may content ourselves with a joy-ride in a paint-box.’ Indeed, sometimes a ‘daub’ is enough, and sometimes that daub is the very thing that propels us into an elevated, ‘flow’ state.

Categories
Culture

No Straight Man: Katharine Hepburn and Cary Grant’s screen partnership in 1938

By Ollie Cochran

There’s a moment in Howard Hawks’ seminal comedy Bringing Up Baby (1938) where Cary Grant’s David Huxley, a mild-mannered palaeontologist, has completely lost control of his life. He has spent a turbulent day being pursued by a woman he barely knows, tricked into escorting a leopard named Baby to Connecticut, kept from his own wedding, and, finally, relieved of his clothes. Now, wearing a ludicrous negligee and trying desperately to explain his garb, he responds with an exasperated, though now iconic, one-liner: “I just went gay all of a sudden!”

It is a ridiculous line in a ridiculous situation, made all the more remarkable by its reputation as the first use of “gay” (at least in its modern sense) in a Hollywood motion picture. But it also gets at something essential about Grant as a screen presence: no matter the circumstances, no matter the absurd getup, the persona seems to survive. Indeed, Grant is almost synonymous with the pinnacle of polished heterosexual masculinity – he wears immaculate clothes, he speaks with a clipped delivery, he carries the faint air of someone inherently aware of how the world works. But here these elements have been scrambled. 

Scrambled by what? Well, the question perhaps should be scrambled by whom. As it is Katharine Hepburn’s Susan Vance who has done the scrambling. She has made off with his clothes, as she earlier made off with his golf ball and car, and the line is uttered by a man finally dragged into her realm of nonsense. A lesser comedy might make one of them the clown and the other the foil. Here, both are funny, albeit in different registers. Hepburn’s comedy is momentum: Susan sails through each catastrophe in the film with total serenity, never once suspecting that her scatterbrained temperament is the cause. Grant’s comedy, on the other hand, is reaction: the double take, the strangled protest, the sentences he can never quite finish. Their lines collide at such a breakneck pace that the dialogue almost becomes percussion. Neither is the straight man, so every exchange lands twice. 

For, underneath the bickering, what they are doing is playing. There is scarcely a love scene in sight. Instead, Hawks treats us to scenes where two people who can hardly hold a conversation turn out to move perfectly together. Leaving a restaurant with her dress torn open, they walk out in lockstep, bodies pressed together, like a music-hall double act. Trying to coax a wayward leopard down from a roof, they find themselves singing in harmony. These are the film’s love scenes, disguised as slapstick: the pair are far more in sync long before they would admit to being in love. David’s fiancée promises him a marriage with no domestic entanglements, only work; Susan offers him a game. So, when Susan accidentally knocks over the giant brontosaurus skeleton David has spent four years painstakingly assembling, he can only admit that he has never enjoyed himself more. 

It is almost poetic that this same argument, that the right partner is the one who will play with you, is made in another film starring the pair. Released in the same year, George Cukor’s Holiday even repeats the set-up. Once again Grant is engaged to a woman who offers him work in place of fun: where David had his museum, Johnny Case has a nice desk reserved for him at his future father-in-law’s bank, when all he desires is a respite from the corporate ladder whilst he is young enough to enjoy it. And once again it is Hepburn who offers the game. Her Linda, the fiancée’s sister, keeps a playroom at the top of the family mansion, the only room which the Seton fortune has not managed to make solemn, and she recognises a fellow truant the moment Johnny walks in. On New Year’s Eve, whilst the engagement is announced to a ballroom of upper-class bigwigs downstairs, the real party is upstairs, among the toys. 

Where Susan and David collided, Linda and Johnny conspire, and this time the comic roles have been inverted. It is now Grant who supplies the momentum, with his somersaults and his scheme to retire young and work later, and Hepburn who is granted the reactions – the delighted stare, the slow grin of someone who has been waiting years for the right man to show up. Once again, the love scene arrives disguised as a stunt. The two tumble in the playroom together – the acrobatics performed by Grant himself with his background as a vaudevillian performer – and the game carries more weight than ever. Linda is falling for her sister’s fiancé and cannot say so. Play is the only language afforded to her, and lucky for her he is the only in the house who speaks it. 

This is why their screen partnership still works. Other couples of the period fall in love; Hepburn and Grant find someone to play with, and their films are all the more fun for it. As for the polished Cary Grant we began with, he never stood a chance. He looks far happier in the negligee.

Featured Image: RKO Radio Pictures

Categories
Poetry

Family Feud 

By Breannah Holton.

I hear murmurs, my sister speaks in her sleep now,

not eloquently nor coherently, more like a struggle to form a word but I know,

it’s like a sister code, that only I, not just I, but me and her and my other sister know,

if you listen closely, you’ll hear not breathing but steam blowing through their nose,

with eyes closed and heads bowed rest makes pain appear peaceful now, but I know,

bed creaks as though sighs and vengeful resolves all at once, 

unlike God they do keep record of wrong.

They can’t help what they are.

Forgive them while they sleep for they know not what they do, but I know,

and they can’t sleep, so maybe they do too.

Featured Image: Hilal Özkanli

Categories
Culture

The Art of Looking Down: Why bother looking at the floor of paintings?

Hans Holbein the Younger, The Ambassadors, 1533, oil on wood, 207 cm by 209.5 cm, The National Gallery

By Lily Whewell

The precise meaning of The Ambassadors by Hans Holbein the Younger has been subject to scrutiny by art historians and art aficionados alike for centuries. 

On the one hand, the various elements which make up the composition are straightforward enough. It depicts Jean de Dinteville, Francis I’s ambassador to England, on the left, and his friend Georges de Selve, a bishop, on the right, standing either side of a table cluttered with objects. On the top shelf are a celestial globe and astronomical instruments whilst the bottom shelf displays a Lutheran hymn book and a collection of musical instruments in disarray; close observation of the flute case reveals a missing flute, and one of the lute’s strings is broken. The upper level of the table has been interpreted by critics as representing the unity of the heavens in contrast to the disorder on earth on the lower level. Many aspects of the work supply an underlying atmosphere of unease, the most obvious being the large and distorted skull which occupies the foreground, a memento mori or reminder of the fragility of life. In reading the rich symbolism of the work, art historians have tended to interpret The Ambassadors as a manifestation of Reformation-anxiety, the fear that Catholicism would be overturned by a new Protestant world order. 

Although religious instability is an undeniable aspect of the message conveyed by Holbein, Dr Bendor Grosvenor’s discussion of the work in the podcast Waldy and Bendy’s Adventures in Art supplies further understanding through his observation of one, easily overlooked detail: the floor. 

Grosvenor points out that the geometric pattern of the floor is the Cosmati pavement, which was completed in 1268 on the order of Henry III and found before the High Altar at Westminster Abbey. The floor also holds Holbein’s signature and the date of the work (1533), concealed by the shadow of Jean de Dinteville. Considering these details, Grosvenor argues that Holbein is transporting us to Westminster Abbey where Anne Boleyn was crowned that year, an occasion Jean de Dinteville attended. Subsequently, he suggests that The Ambassadors specifically reflects an anxiety over Anne Boleyn’s ‘reformist sympathies’, rather than a more general fear of Protestantism. This more nuanced interpretation, derived from an observation of the floor, is compelling. 

Much great art encourages the viewer to look up, but after Grosvenor’s revelation, I began to question what happens when we start looking down? How many other works of art could we further decode by simply paying attention to what is going on beneath the subject’s feet? 

Steven van der Meulen, Portrait of Elizabeth I (The Hampden Portrait), c. 1563, oil on panel, transferred onto canvas, recently exhibited at Philip Mould & Company

The floor in early modern portraiture proves to be often enriched with symbolism. The Ditchley Portrait of Elizabeth I, painted circa 1592 by Marcus Gheeraerts the Younger, is an obvious example. In the portrait, Elizabeth stands on a globe of the world with her feet firmly planted in Oxfordshire. In this instance, the floor alludes to the patron of the work, Sir Henry Lee, who likely commissioned the work to commemorate a performance he had held in the Queen’s honour at his home in Ditchley, Oxfordshire. In another portrait of Elizabeth, the earliest surviving full-length painting of the monarch painted by Steven van der Meulen, the floor is sumptuously covered by rugs to amplify the status of the subject. Oriental rugs and carpets originating from the Islamic world were frequently depicted in European artwork from the fourteenth century onwards, initially in works of religious themes, but subsequently co-opted by elite portraiture as a means of conveying wealth and high-status. 

Attributed to Jan van Belcamp, The Great Picture, 1646, oil on canvas, 254 cm by 358 cm, Abbot Hall. Image credit: Lakeland Arts

A less famous example of how an artist could utilise the floor for both symbolic and practical purposes can be found in The Great Picture, attributed to the artist Jan van Belcamp. This triptych painting is a visual history of the Clifford family, commissioned by Lady Anne Clifford in 1646 to commemorate her inheritance of the family estates after a forty-year legal battle with her uncle and his heirs. The central panel depicts Anne’s parents, George Clifford, 3rd Earl of Cumberland and his wife Margaret, with their two sons before Anne was born. Upon the death of the Earl of Cumberland in 1605, Anne was set to inherit the vast Clifford estates after her two older brothers had died in their youth, but she was instead disinherited by her father who controversially named his brother as heir. The left panel presents Anne aged fifteen after she had been disinherited, whilst the right panel depicts Anne, twice married, having finally secured her rightful inheritance. 

Although this is a painting rife with encoded messages, it is – unsurprisingly – the floor I wish to draw your attention to. Under the feet of the young and disinherited Anne, the floor is plain and nondescript, simply scattered with a couple of books suggestive of her learnedness. The right-hand panel presents an obvious contrast; having now repossessed her family estates, Anne stands on an oriental rug to emphasise her status as a wealthy widow. The central panel does something entirely different. Belcamp has co-opted a chequerboard floor to imbue the room with a sense of depth, a device of perspective developed by the artists of the Italian Renaissance. An especially clear example of this effect can be seen in Juan Bautista del Mazo’s depiction of Queen Mariana of Spain in mourning. Whilst looking at the floor in The Great Picture does not provide an entirely new appreciation of the message of the work as it does in The Ambassadors, it does play a fundamental role in creating perspective and enhancing the symbolism of each panel. 

This article has provided just a couple of examples, largely focused on early modern English portraiture, of how our appreciation of figurative art can become more acute when we take time to look at what is going on, quite literally, under our noses. I challenge you to consider the floor, whether it holds an artist’s signature, a recognisable geometric pattern or a clever rendering of space, next time you find yourself in front of a work of art; it can be a surprisingly fruitful exercise. 

Juan Bautista Martínez del Mazo, Queen Mariana of Spain in Mourning, 1666, oil on canvas, 196.8 cm by 146 cm, The National Gallery.