To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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A trawl for terse tales
Want to see your name in print? Now's your chance... ANDY HEDGECOCK explains how you can do it in this guide to writing 'flash fiction' and how you can submit your work to the Morning Star
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
WHAT is flash fiction? Poet and fiction writer Nuala Ni Chonchuir describes it as “intense, urgent and often a little explosive, but also deep and clear.” All in fewer than 1,000 words.
One well-known flash is a six-word tragedy, sometimes attributed to Ernest Hemingway: “For sale, baby shoes, never worn.”
The most common formats are the drabble or micro fiction (100 words), the dribble or mini-saga (50 words), sudden fiction (750 words) and twitterature (280 characters). But a quick browse of online flash competitions reveals a more varied range of word lengths.
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MIKE QUILLE applauds an excellent example of cultural democracy: making artworks which are a relevant, integral part of working-class lives
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright