MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
Best of 2024: Jan Woolf
The playwright and artist reflects on the ways in which reviewing can nourish the creative act
Frank Auerbach, Head of EOW, 1960; John Berger; Peter Kennard, Protest and Survive 1980
[© the artist - courtesy of Frankie Rossi Art/Amarjit Chandan/Courtesy of Peter Kenner] 
New releases from Christina Alden and Alex Patterson, Odette Michell, Clementine Lovell
JOHN GREEN is fascinated by a very readable account of Britain’s involvement in South America
Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
RON JACOBS welcomes a timely homage to one of the IWW and CPUSA’s most effective orators
TED HUGHES said that deadlines were good for artists and journos as its imminent arrival provokes fear and therefore adrenalin — and we get on with it. And so, herewith my 12 deadlines for 2024.
The partridge in the pear tree, if you like, was The Flea at Hackney’s Yard Theatre, a vivid production about old hypocrisies. “The poor have got their channels in the bedrooms of the rich.” My pieces need a good haiku of a title and editorial provides them.
The delicious and deceptively mysterious painter “Here Comes the Sun King” on Ken Kiff’s Show, then Peter Kennard’s Archive of Dissent at the Whitechapel Gallery London (on till January 19) which made me hail him in print as the “artist of the human conscience.”
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