“£150,000 wrapped up, please”
“Yes, hello, I’d like to pay off my mortgage with a pickled fish” isn’t the most likely of banking requests, but then it’s not everyday that somebody has a Damien Hirst trevally-in-formaldehyde worth as much as their house. Darren Walker, a childhood friend of the Leeds-born artist, hopes to make £150,000 from the fish, a gift Hirst made to the Farsely chippy where Hirst’s brother worked, when it is auctioned later this year. Ever-concerned that art should not be about privilege, this follows on from last November when Hirst donated one of his sketches as a prize in a £1 raffle for Heart Research UK. At least the fish should help his humility rating, which plummeted last year when he created a diamond-encrusted skull.
Delia’s Bread and Butter
In the unlikely event that nobody fancies the Hirst fish at auction, perhaps Delia could pop it between two slices of long-life bread. Her ‘How to Cheat’ cookery series may have been denigrated by just about every food writer and TV critic with senses, including the New Statesman’s Rachel Cooke, but sales of the accompanying book soared last week, and saw Delia take the top slot for the best-selling UK title.
Oranges are not the only fruit
Ahead of the Orange Prize, Whitbread First Novel Award-winning author Tim Lott has dared to venture into the lionesses’ den by suggesting that the women-only writers’ prize is “discriminatory, sexist and perverse.” Feminism has long-opposed the argument that women-only arts prizes actually increase the gender inequality gap in writing and publishing. In a rhetorical question, Lott debated whether a men-only prize might actually be more justified, “given their level of relative exclusion in schools and the marketplace.” He might have immediately dismissed the idea, but Lott’s planting the seed suggested that secretly, he quite liked the idea. His statement that “pupils are taught reading mainly by female teachers promoting mainly female writers” was proved factually inaccurate by the F Word, where blogger Sian pointed out that Lott had neglected to heed the predominance of men in the English literary canon: “we had lectures entitled ‘women in modernism’; next to lectures entitled ‘ts eliot’.”
Blogger Caitlin reiterated this, and criticised the poetry booklets the Guardian and Independent gave away last week: “in the Guardian series, Sylvia Plath is apparently the only ‘great’ female poet from the 20th century, out of the seven chosen (and while she was amazing, that is beside the point) while the Independent fairs slightly better with Emily Dickinson, Elizabeth Barrett Browning, Charlotte Mew and The Bronte Sisters – out of 38 poets! THIRTY EIGHT!”.
Meanwhile John Sutherland, A S Byatt and Anita Brooker have rallied round Lott. Considering the Orange Prize winner won’t be announced until June, there is of course still time for judge Lily Allen to pen a suitably anthemic pop song about it.
Anthony Minghella
The untimely death of British writer and director Anthony Minghella was met with unanimous regret and reverence this week. Alan Yentob called him “a great champion of British cinema, an elegant advocate for the craft and a marvellous mentor for new talent” and Tim Walker summed up Anthony’s significance on IndyBlogs – “Say what you like about The English Patient (and I know it gets right up some people’s noses), but it put Britain back on the cinematic map.” Although there was debate at the BBC about whether screening was still appropriate, his final directorial effort, ‘The No.1 Ladies Detective Agency’, will be shown on BBC 1 this Easter Sunday. Check out the next issue of the New Statesman for a full review. The tribute that Anthony Minghella wrote to Samuel Beckett here in the New Statesman suddenly seems all the more poignant.
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