I’m not sure anyone was in a huge hurry to see more of Woody, Buzz, Jessie and the rest of the gang after their glorious send-off at the end of – not because we didn’t love them, but because… well, why mess with perfection? Why go back to the well and risk overexposure? Why compromise that utterly sublime ending?
Monday, October 26, 2020
Friday, October 23, 2020
My last post in this series covered Angela Barrett’s earliest work () and this one examines her most recent: by Vivian French. It’s an original story, but one infused with a fairy tale ambiance in its illustrations of an Edwardian-era Venice. Though it has none of the symbolism or potency of our oldest tales, its sweet little love story manages to find a clever loophole in the familiar “most worthy suitor” clause.
Monday, October 19, 2020
As I’m sure you’re aware, the New Zealand election is over, and it was a landslide. Though I wasn’t prepared to take anything for granted, the writing was pretty much on the wall when it came to a Labour victory – but the sheer extent of the red wave (and here, that means left) caught everyone by surprise. Not only is Labour a majority government – a thing unheard of since 1946 – but several electorates that have been held by National MPs for up to twenty years have flipped.
Sunday, October 18, 2020
This giraffe (called ) was based on a fairly straightforward concept by artist Mark Catley: its minimal black lines creating an illusion of both bandages and zebra crossings. Together they remind Christchurch residents of the rebuild in the wake of the earthquakes – not only the visible wounds, but also the need to carefully pick a safe path around the debris. Okay, it’s a bit of a stretch, but that’s what my guidebook said.