PETER MASON is beguiled by a fascinating account of the importance of cricket to immigrants from the Caribbean to the UK
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The female gaze
LYNNE WALSH applauds a show of paintings that demonstrates the forward strides made by women over four centuries
Julia Margaret Cameron, Mountain Nymph, Sweet Liberty, 1865
[Wilson Centre]
The new corporate version of Robin Hood is a betrayal of the anti-colonial hero of the people of yore, suggests DENNIS BROE
PETER MASON is gripped by a novel that confronts corporate callousness with those prepared to act to bring about change
KEN COCKBURN relishes the memoir of a translator, but wonders whether the autobiography underlying the impulse would make a better book
A mesmerising novel by Mexican Daniel Saldana Paris, and fierce poetry by Peruvian Dalmacia Ruiz-Rosas Samohod, and Jonathan Gonzalez
PAUL BUHLE an RAYMOND TYLER enjoy an issue of the radical comic WW3 that gives a platform to Palestinian artists, and uncensored commentary
Now You See Us: Women artists in Britain 1520-1920
Tate Britain, London
THIS is women’s work: brilliantly creative, tenacious, incandescent with passion, empathetic and rebellious.
There’s a word that crops up, though, in titles and texts: unknown. A portrait shows an Unknown Lady; it’s unknown where some artists trained; some painters had their names misspelled over the years. It’s almost as if no-one were paying attention to their talents.
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