DAVID RENTON is puzzled by an ambitious attempt to look back on world culture from the future without engaging with or understanding it
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Through a lens darkly
A new exhibition shows why Don McCullin is such a brilliant chronicler of a conflicted world, says JOHN GREEN
Local Boys in Bradford, 1972
MICHAEL STEWART applauds a fun send-up of the substandard Agatha Christie whodunnit
LEO BOIX reviews a novella by Brazilian Ana Paula Maia, and poetry by Peruvian Giancarlo Huapaya, and Chilean Elvira Hernandez
BRENT CUTLER unpicks the cryptic clues of a book within a book within a murder mystery
Reviews of the Neil Charles Quartet, the Freddie Hubbard Quintet, and the Olie Brice Quartet
GLENN BURGESS suggests that, despite his record in Spain, Orwell’s enduring commitment to socialist revolution underpins his late novels
Don McCullin
Tate Britain
AS SOON as you enter this monumental retrospective celebrating Don McCullin’s life and work, you are immediately aware of being confronted with a treasure trove of one of the world’s foremost photojournalists in a full tour of his almost 70 years as a photographer.
Grenade Thrower, Hue, Vietnam, 1968
It begins in the early 1950s, with iconic shots taken around his home stomping ground of East London. “The guvnors,” depicting a gang of youngsters lounging with proprietorial arrogance on the first floor of a skeletal half-demolished house in Finsbury Park, is like a stage set from West Side Story. And there are early photos of police taking action against anti-fascist demonstrators and CND marchers.
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