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   <title>New Statesman - <![CDATA[Gilbert Adair]]></title>
   <link>http://www.newstatesman.com/writers/gilbert_adair</link>
 
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   <language>en</language>



				
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   <title><![CDATA[Not so brillig at maths]]></title>
   <link>http://www.newstatesman.com/books/2008/07/carroll-wilson-alice-dodgson</link>
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   <pubDate>Thu, 10 Jul 2008 09:18:50 GMT</pubDate>
   <dc:creator>Gilbert Adair</dc:creator>
  
  <description><![CDATA[<p><em><strong>Lewis Carroll in Numberland</strong><br />Robin Wilson<br /><em>Allen Lane, 256pp, £16.99</em></em></p>

<p>More than a century after his death, Lewis Carroll is still perhaps the supreme enigma of English literature.</p>
<p>No, I take that back. Carroll himself is not an enigma. Although, as we now know, he was an individual infinitely more mysterious than he appeared to his contemporaries, his life and psychology have been rendered intelligible for us by those methodologies, sociological, psychoanalytical or whatever, which apply themselves to refining our  <a href="http://www.newstatesman.com/books/2008/07/carroll-wilson-alice-dodgson">[...]</a></p>
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   <title><![CDATA[Praise be to Godard]]></title>
   <link>http://www.newstatesman.com/books/2008/07/godard-cinema-brody-jean-life</link>
   <guid isPermaLink="true">http://www.newstatesman.com/books/2008/07/godard-cinema-brody-jean-life</guid>
   <pubDate>Thu, 03 Jul 2008 09:29:43 GMT</pubDate>
   <dc:creator>Gilbert Adair</dc:creator>
  
  <description><![CDATA[<p><em><strong>Everything Is Cinema: the Working Life of Jean-Luc Godard</strong><br />Richard Brody<br /><em>Faber & Faber, 720pp, £30</em></em></p>

<p>Truffaut once observed that the ordinary man in the street had two jobs, his own and that of film critic. Nowadays, a film critic is also expected to have two jobs, his own and that of ordinary man in the street. Where the cinema is concerned, erudition, formerly the touchstone of all criticism, has become practically a lost cause. Increasingly, the sole means for a critic to survive the inexorable  <a href="http://www.newstatesman.com/books/2008/07/godard-cinema-brody-jean-life">[...]</a></p>
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   <title><![CDATA[Comfortable in hell]]></title>
   <link>http://www.newstatesman.com/200402230032</link>
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   <pubDate>Mon, 23 Feb 2004 12:00:00 GMT</pubDate>
   <dc:creator>Gilbert Adair</dc:creator>
  
  <description><![CDATA[<p><em>Far from being the opium-smoking dilettante of legend, Jean Cocteau was one of the 20th century's most significant artists. Yet his unacknowledged homosexuality and Nazi leanings made him a profoundly tormented figure, writes Gilbert Adair</em></p>

<p>Just like one of those iris shots beloved of the makers of silent films, let's start by focusing our attention on a single detail, a plaque on a wall: Rue Jean Cocteau. Slowly the iris expands until it coincides with our entire field of vision. The image, now of a dusty, dozy village square in northern France, encompasses a large covered market, a car park, a cluster of shops (one  <a href="http://www.newstatesman.com/200402230032">[...]</a></p>
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