Fiction by Erica L. Satifka, Steven J. Dines, Malcolm Devlin, Abi Hynes, Leo Vladimirsky.
When I read this fiction, my thoughts will appear in the comment stream below…
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Or simply google ‘author’s name’ and ‘gestalt’.
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Controlled free-wheeling analysis leading to praise is my optimal goal, assuming the book itself allows, as I expect with any book I instinctively happen to buy for my reading enjoyment and as an accolade for reviewing here.
In the pitiless passion of the preternatural reading-moment, often raw, often gnomic, often wordy, but always heartfelt.
The first one being my own!
“So much coheres in my current book reviewing.
But don’t use other writers’ books to talk about yourself or your reviews rather than talking about the books themselves. […]
Still, I buy all the books I read, so what I do with them or say about them is my business.” [link]
And two separate people blogging publicly in recent days:
“We are so lucky to have Des Lewis in these times. His project as a reader and as a writer is dazzling huge but touchingly intimate all at once. A genius, no doubt. But much more than that – his writing is a resource for all of us who think stories matter.” [link]
“Des Lewis’ ‘real-time’ reviews are unique, thought-provoking and always a treat to read. They’re packed with word play and poetry as they unearth associations and currents in the work that I might miss myself when I’ve been so close to it. Other writers describe similar experiences of discovery and regard a Des Lewis review as a work of literature in its own right. I second that. Perhaps you can call this a review of a review. I always feel very honoured by the attention and thought Des puts into his reviews.” [link]
[EDIT: 9 June 18] “We’ve never met, but I cherish your reviews as spiky reminders that what we’re attempting is not just worth doing, but little short of sorcery. Cheers!” [link]
[EDIT: 13 June 18] “Kudos to Des Lewis, for his x-ray vision and for breathing new life into the review.” [link]
Edited by J.A. Mains in 2017
BLACK SHUCK BOOKS
Introduction by Lynda E. Rucker
Stories by Susanna Moodie, Frances Power Cobbe, Georgiana S. Hull, Phoebe Pember, Clara Merwin, E.A. Henty, Manda L. Crocker, Ada Maria Jocelyn, Annie Trumbull Slosson, Lady Gwendolen Gascoyne-Cecil, Mary Eleanor Wilkins Freeman, Katharine Tynan, Mrs Hattie H. Howard, Elizabeth Gilbert Cunningham-Terry, Annie Armitt.
Whenever I read this book, my thoughts will appear in the comment stream below…
Plus a potentially significant review of THE BIG-HEADED PEOPLE:
So Resonance & Revolt has been out for a good few weeks! I was so absorbed in preparations for the launch a couple of weeks ago I forgot to mention that, as well as post about the launch in this blog. However, details were tweeted and also put on Facebook so I hope everyone who wanted to come knew about it.
I’ll write some more about the event itself but I’ll now highlight R&R’s first review from Des Lewis. If the name rings a bell, several stories in R&R such as “Survivor’s Guilt”, “Pieces of Ourselves”, “In the Pines”, “The Pleasure Garden” and “The Turning Track” have received Des’ treatment on first appearance, which I’ve featured in previous posts. “Lambeth North” had actually appeared in one of his own anthologies, Horror Without Victims.
Des Lewis’ ‘real-time’ reviews are unique, thought-provoking and always a treat to read. They’re packed…
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Yes, tonight in the Mercury Theatre, Colchester, a magnificent performance of the Beethoven Diabelli Variations that I have long called ‘Dabbling with Diabelli’ (the title of one of my first published stories in the early 1990s).
Performed by a wonderful pianist: *Imogen Cooper*
Live! A privilege. A lifetime ambition inadvertently achieved. Her fingers were the Diabelli, and her facial expressions part of working with the music, a disarming spirituality. (Also intrigued by her tablet music score that she seemed to work with her foot.) But as you can see from the programme above, Schoenberg (for me, a rare live performance of another of my favourite styles of music), is shown with large detailed space, but lasted only a few minutes as an exquisite, distilled dream. But the Diabelli with one brief programme mention lasted a majestic 55 minutes!
My experience of the Diabelli was slightly disrupted by Arch-Brexiteer Bernard Jenkin suddenly intruding, just before it started, into the audience row in front of me, so that, as I understood it, he could see her hands. Perhaps he also wanted to feast upon those Diabelli…
There was another significant experience in the Schoenberg’s Six Little Pieces Op. 19, leading straight into Haydn’s Sonata No. 60, which I had not expected. In fact, the existence of the Diabelli performance in itself was a surprise to me, as my wife had arranged this visit and I had been unaware of the programme until I got there.
Just outside the Mercury Theatre there is Colchester’s Jumbo. Above, I show yesterday’s close-up of the falcon that is currently in residence. Also I show Jumbo from Colchester High Street’s sightline as we walked to the theatre – on a drained thundery tense evening. As a child in the 1950s, I think I took the sight of Jumbo for granted. Hidden in plain sight, as it were. Yesterday, it looked like an Oriental Temple from an Alternate World.
My previous classical music reviews: https://dflewisreviews.wordpress.com/des-lewiss-classical-music-reviews/