DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Paradise Street: The Lost Art of Playing Outside
Evocative images of a time when children were free to play in the streets
Balham, London, circa 1961, Paul Kaye
© The Paul Kaye Collection / Mary Evans Picture Library
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
THE images in Paradise Street — the fourth book in Hoxton Mini Press’s Vintage Britain series — span the years from the 1930s through to the late 1970s and are the work of 10 leading photographers.
Balham, London, circa 1961, Paul Kaye © The Paul Kaye Collection / Mary Evans Picture Library
They portray children playing in streets from London to Manchester and Belfast to Middlesbrough and, while they are all clearly working class and their games are invariably played out against the backdrop of tenements and terraced slums, they appear to be almost without exception happy and enjoying life to the full — a seeming contradiction you would think — and with hardly an adult to be seen.
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