We can thank D.H. Lawrence and Penguin for not only the having the confidence to publish Lady Chatterley's Lover but for fighting the battle to prevent this book from being banned. So why are we still embarrassed to be seen reading novels that are, shall we say, risqué?! And why, are we defining such novels as 'risqué' when in fact sex is perfectly natural?
This year marks the Stones 50th Anniversary. While Keith Richards said that there probably wouldn't be a 50th anniversary tour, tickets have allegedly gone on sale for a September 1 show in Berlin. In that same spirit, LIFE books has come out with a book on the Stones.
In 2009 I was asked to be one of the Orange Prize for Fiction judges. I loved it. Although my boyfriend groaned every time I opened another book, I revelled in it.
But many view children's literature as beneath them. If it's not for 'grownups', it's not worthwhile. But, wait, here's a sneaky little problem: what about all the 'grownups' who read and enjoy Rowling's work and other children's books? Shouldn't we explore why these works appeals to adults who are apparently supposed to know better?
Magic and animals seem to have been the major themes of my favourite books whilst growing up, and luckily I can find both in Oz! But there was another witch that whet my appetite for magic at an early age, and she is Mildred Hubble, the main character in Jill Murphy's series 'The Worst Witch'.
In rising middle-class neighbourhoods of London, an author-journalist friend notices a pronounced dwindling of 'creative' types among parents comparing his older son's class to that of his young daughter.
Critics have a bit of a reputation for watching your work with what locals up here would call 'a face like a smacked arse' but when I forced her to sit in my eyeline and wear a party hat like everyone else she looked engaged and even LOL'ed - why was I staring at her during the show as if I could predict her review or manipulate her experience?
Travelling to Naples I was lucky enough to meet with artist French- Italian artist Paul Thorel. He is having his first solo show...
The Orbit is a case in point. Having seen it last week I can assure you it looks even worse than the photographs. It is an uninspiring piece of scaffolding which has no links to its environment and says nothing about the surrounding area or community.
Saturday 19th May will mark Kew Bridge Steam Museum's first foray into the Museums at Night festival of after-hours events at museums and galleries.
Well, the film of War Horse came and went, much loved by many, less loved by others. I thought it was a wonderful adaptation of the story, as the play is too.
I'm not a geologist, vulcanologist nor even a phenomenologist but I've spent a lot of time in the last few years reading about and watching Vesuvius, mostly online or in the media, and once or twice on the spot, while writing a book on its enduring fascination.
I am lucky enough to live in London, where the sheer number of museums, galleries and theatres mean it's almost impossible not to find yourself visiting places from time to time.
They'd stood there, in those distinctive dust covers, gathering dust, for so many years. By rights they should have comprised a complete set of first editions, each one inscribed and signed by Ian Fleming to my father. And now they are all gone!
Imagine if you will a kind of literary kaleidoscope. Smash up the writings of Haruki Murakami, Borges and Denis Johnson. Pour the fragments into your kaleidoscope and put it to your eye. Start to twist the tube and watch the coloured patterns form, shift and reform into a different shape.This gives an approximate idea of what it feels like to read this astonishing novel.
My concerns about missing the most perfect turns of the English language were largely unfounded. The plays are so good, that in the hands of passionate performers they go beyond the need to comprehend the words to get their meaning.