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Woman as protagonist in BBC’s re-adaption of Conrad’s The Secret Agent

With the recent surge of interest in Conrad’s text following the programme airing in July, one needs to question the contribution that BCC’s adaption offers to the oeuvre of Conrad’s criticism. Tony Marchant’s adaption is acutely aware of global relevance of this text, noting that the “contemporaneity just hit[s]” you “in the face”. Yet, his production precisely fails in this presentation of terrorism.

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Editing The Scarlet Pimpernel

Baroness Orczy’s Scarlet Pimpernel (1905) is one of those popular novels that we tend to assume we already know without having read it. This tale of the French Revolution has been adapted many, many times, for the stage, small and large screens, and radio, and it has been frequently parodied over the decades, most famously, perhaps, by the Carry On team with Don’t Lose Your Head (aka Carry on Pimpernel).

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Edmund Gosse: nonconformist?

By Michael Newton
“The trouble with you,” an old friend recently declared to me, “is that you have always been a conformist.” He meant that I had never undertaken that necessary radical break with my parents and their ideals and interests. Without such a generational rupture, it seemed to him, nobody could claim to be a fully independent, realised person. While he had been dropping acid and dropping (temporarily) out of college, I’d been reclining under a tree with John Keats. And surely there was nothing rebellious in that.

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The realities of spy fiction

When talking about spy fiction, people sometimes confuse verisimilitude and reality. Spy novelists who use the words “friends” and “cousins” to describe our American collaborators are engaging in verbal verisimilitude. When John Le Carré tells us in his latest novel A Delicate Truth that the business of secret intelligence is now being privatized, he’s conveying an important reality.

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The Oscar nominations: Philip Glass

Along with Reich, Riley and Young, Glass was a principal figure in the establishment of minimalism in the 1960s. He has since become one of the most successful composers of his generation. He studied the violin at six, then at eight the flute with Britton Johnson at the Peabody Conservatory.

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