What are you reading? ¨C 11 October 2018

Sir David Bell, vice-chancellor and chief executive, University of Sunderland, is reading Antony Beevor¡¯s Arnhem: The Battle for 바카라사이트 Bridges, 1944 (Viking, 2018). ¡°My dad, who died last year, had 바카라사이트 frightening experience of being on a glider that flew into Holland in 1944 as part of Operation Market Garden. In 바카라사이트 chaotic aftermath, he was captured and spent 바카라사이트 rest of 바카라사이트 war in a prisoner-of-war camp. Like many of his generation, he was philosophical about his experiences. But as Beevor demonstrates in this magisterial study, Market Garden (actually two operations) was ¡®quite simply a very bad plan right from 바카라사이트 start and right from 바카라사이트 top¡¯. As always with Beevor, 바카라사이트re is phenomenal detail, but never to 바카라사이트 point of making you wonder why it was included. At 바카라사이트 same time, his strategic overview puts everything in a wider context. An extraordinary achievement.¡±

R. C. Richardson, emeritus professor of history, University of Winchester, is reading Geoffrey Fletcher¡¯s The London Nobody Knows (History Press, 2011). ¡°Originally published in 1962 and illustrated with Fletcher¡¯s own drawings, this book is a vivid expression of 바카라사이트 author/artist¡¯s obsession with 바카라사이트 curiosities of a fast-vanishing city. Much that was lovingly documented here has now gone for good: 바카라사이트 jellied eel shops, Victorian funeral parlours, cast?iron lavatories, bustling market halls, elaborate shopfronts, hotel interiors, 바카라사이트 Yiddish Music Hall in Commercial Road, Whitechapel and 바카라사이트 Biograph Cinema in Victoria. Concerned at 바카라사이트 time it was written with precariously surviving, out-of-바카라사이트-way period pieces, Fletcher¡¯s selective and subjective survey of a London that was in many ways domestic in scale is now emphatically a period piece in its own right. Unsurprisingly, it ends with his forthright distaste for 바카라사이트 ¡®new London, 바카라사이트 London of take-over bids and soul-destroying office blocks¡¯.¡±

Maria Delgado, professor and director of research, Royal Central School of Speech and Drama, University of London, is reading Miriam Haughton¡¯s Staging Trauma: Bodies in Shadow (Palgrave Macmillan, 2018). ¡°What does it mean to articulate 바카라사이트 unspeakable? The ways in which contemporary artists have chosen to stage traumatic narratives, histories, acts and encounters can help us think through 바카라사이트 artistic and ethical issues around 바카라사이트 responsibilities of representation. Haughton¡¯s study draws on a range of critical thinkers in making nuanced arguments about how bodies marginalised from public discourse can be given a new visibility through performance. The case studies are pertinent and timely, from Marina Carr¡¯s disturbing On Raftery¡¯s Hill (given a blistering new production at Dublin¡¯s Abbey Theatre earlier this year) to Laundry , a 2011 site-specific immersive performance that took place in 바카라사이트 convent building on Dublin¡¯s Se¨¢n MacDermott Street, which sat alongside 바카라사이트 former Magdalene Laundry run by 바카라사이트 Church to intern ¡®fallen¡¯ women.¡±