The multimedia artist, Graham Fink, is one of the world’s most awarded creatives. Formerly at Ogilvy China, his decades-long career has included senior creative posts at CDP, GGT and M&C Saatchi. Some of his most well-known work includes British Airways’ Face, PlayStation’s Blood and Mental Wealth poster campaigns, and Coke hands, Coca-Cola’s most-awarded ad.
He has developed software which enables him to draw with his eyes, and is agent to the AI robot, Sophia, at Hanson Robotics. His latest exhibition In Transition at VVA VirginiaVisualArts, a new contemporary gallery space in Central London, is on until 10 April.
Continue reading Spotlight | John-Paul Pryor & Graham Fink in conversation | Mortimer House, Fitzrovia W1
The Governesses by Anne Serre | Translated by Mark Hutchinson | Les Fugitives
Published 25 March, 2019 | PB 120 pages ISBN 978-978-0993009396
“Experience had shown you, however, that no pact lasts forever. You knew that the members of the household would once again be shuffled together like playing cards, and that when the next hand was dealt the alliances would fall out differently.”
The Governesses is a most unusual erotic fable about sex and power, illusion and eroticism, beautifully translated from the French into supremely elegant, languid prose. Its atmosphere is reminiscent of Alain Fournier and Julien Green.
Inès, Laura and Eléonore are governesses, responsible for four boys. The “mistresses of games and pleasure” they radiate a wild and frisky innocence, and have the run of the upstairs salons in the country house of Monsieur Austeur and his wife, Julie. “The excessive silence of the households they wait upon” may be “conducive to reading thinking and raising little boys who are champion hoop rollers, and to the elderly gentleman’s repose, and the waning love of Monsieur and Madame Auster,” but it is stultifying. Their employers’ home is “a boundless void.” The young women have nowhere to go, and there are no distractions. Continue reading Book 2 Review | The Governesses, Anne Serre & Now, Now Louison, Jean Frémon | Les Fugitives
Are (were) your parents great readers? Tell us a bit about yourself.
My Mum is a big reader of Crime Fiction. It helped her solve a real life crime while she was working in a Kenyan orphanage a few years ago. They were both “people of The Book,” hosting Parish Bible studies. This made them more learned than the average parents. The Church was my first exposure to people with higher education. I read a lot from a very young age, I had a box of those cassettes with ding turn the page books. I would put the headphones in myself and read for hours. I remember making a zoo out of envelopes. Each one contained a different animal.
Did you want to work in the publishing industry from the start? If not, why now?
No, but something I wanted to do as a Writer was understand every dimension of books. I studied Sculpture because I thought this would teach me about composition in a more general sense than doing English or Creative Writing. I went on to become a master bookbinder and printer too. I became a publisher partly because I wanted to understand, and maybe undermine, distribution and bookselling. It’s another extension to my writing. I guess that’s what it means to be a Modernist in an industrial, networked world.
Why now? We were invited in by big publishers a few times to consult, using our publishing methods. We also worked on several print commissions in our studio for Independents. One title we illustrated is almost at the Million Copies mark. We realised we had an extraordinary range of expertise and there were so many good manuscripts I knew of being turned down for bad reasons. The Poets made me do it! Continue reading Interview | David Henningham, co-founder, Henningham Family Press | Indie Publisher of the Week
“God, like fireflies, only shines in the darkness, wrote Schopenhauer.” – Fireflies (p. 71)
Fireflies by Luis Sagasti is a brief, existential history of the world in the form of eight essays knitted together by subtle connection points. An eclectic array of highbrow and pop cultural personalities are presented in a seemingly random manner but have common threads that carry an underlying message. Philosophy helps us live our lives, is a consolation: Wittgenstein and Habermas make an appearance; as does the celebrated author of haikus, Matsuo Basho.
An original and stimulating work of experimentalism, Fireflies is in the tradition of fellow Argentine writer Jorge Luis Borges, Italo Calvino (who asserted that “the brain begins in the eye”), Roland Barthes and Michel Tournier. What is true and what is false? Are conspiracy theories grounded in any kind of reality? Is there a relationship between death and black holes? Can words express truth, and is perception reality?
Continue reading Review | Fireflies, Luis Sagasti | Book of the Week
“Nobody is healthy in London, nobody can be,” the hypochondriac Mr. Wodehouse says in Jane Austen’s Emma. Proverbially never healthy was Jeffrey Bernard, whose weekly column in the Spectator was frequently substituted with the notice: “Jeffrey Bernard is unwell.” What began as a euphemism for the fact that Bernard was too drunk to write his column or even – which happened a few times – to resubmit an old column in the hope that it had been forgotten, in later years became a bitter truth. His Low-Life column which he had been writing since 1978 and which was generally held to be a suicide note in instalments, ended with Bernard’s death in 1997 after he had willingly stopped the dialysis necessary for his survival. That he had his own ideas about life, he had already made apparent earlier: Asked to write his autobiography he promptly put a small ad in the New Statesman, enquiring whether anybody knew what his movements between 1960 and 1970 had been. Continue reading Guest Feature | Philip Mann, “For thirty years I hid my fame in taverns”