MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
Scotland the black
JOE JACKSON explores how growing up black amid ‘the quiet racism of Scotland’ shaped the art and politics of Maud Sulter
CLAIMING HER PLACE: (L) Maud Sulter, Self-portrait, 2001-2, detail; (R) Maud Sulter: Syrcas. Hélas l’héroine Quelques instants plus tard, Monique cherchait sa brosse à cheveux, 1993
[© Estate of Maud Sulter. Image courtesy of Street Level Photoworks Glasgow/Courtesy of the Estate of Maud Sulter and DACS] 
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
Maud Sulter – You are my kindred spirit
Tramway, Glasgow
SHE was one of the first chroniclers of the modern experience of being black in Scotland. The daughter of a Scottish mother and Ghanaian father growing up in 1960s and 1970s Glasgow, Maud Sulter experienced first-hand the racism of the period. That experience strongly registered in her art, writing, poetry and photography, informing her lifelong commitment to anti-colonial politics and the amplification of black voices – particularly women – marginalised or forgotten by history.
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BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright
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RINA ARYA confronts the brutal operation of Francis Bacon’s approach to portraiture
ROSIE NELSON applauds a graphic novel that asks what does it mean to exist as a fat person in a fatphobic society?