A novel by Argentinian Jorge Consiglio, a personal dictionary by Uruguayan Ida Vitale, and poetry by Mexican Homero Aridjis
Latest editorial
Lowry of the lens
Peter Mitchell's photography reveals a poetic relationship with Leeds
(L to R) How many Aunties?, Back Hares Mount, Leeds, 1978; Max Babbin, Vulcan Street, Leeds, 1979
MIK SABIERS savours the first headline solo show of the stalwart of Brighton’s indie-punk outfit Blood Red Shoes
New releases reviewed by IAN SINCLAIR
STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
Peter Mitchell: Nothing Lasts Forever
The Photographers’ Gallery, London
PETER MITCHELL (born 1943) is widely regarded as one of the most important early colour photographers of the 1970s and ’80s. This important exhibition is dedicated to his work.
He is a self-effacing artist, coming across in interviews as rather Lowry-like: naive, unideological and uncomplicated. Taking photos, or as he says “taking pictures” is simply a necessity for him.
Born in Eccles, near Manchester, in 1943, shortly afterwards his family moved to Catford, south-east London, where Mitchell spent his formative years. Even as a youngster, he was a keen collector and diarist, beginning the archive that would later form part of his autobiographical publication, Some Thing Means Everything to Somebody.
More from this author
JOHN GREEN recommends a German comedy that celebrates the old GDR values of solidarity, community and a society not dominated by consumerism
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
Mountains of research show that hardcore material harms children, yet there are still no simple measures in place
Odysseus’s homecoming myth is treated as a factual story, with strong resonances for our contemporary world. This is an implicit anti-war film that has an urgent relevance, writes JOHN GREEN
