“Sod the wine, I want to suck on the writing. This man White is an instinctive writer, bloody rare to find one who actually pulls it off, as in still gets a meaning across with concision. Sharp arbitrage of speed and risk, closest thing I can think of to Cicero’s ‘motus continuum animi.’

Probably takes a drink or two to connect like that: he literally paints his senses on the page.”

DBC Pierre (Vernon God Little, Ludmila’s Broken English, Lights Out In Wonderland)

Winner: Booker prize; Whitbread prize; Bollinger Wodehouse Everyman prize; James Joyce Award from the Literary & Historical Society of University College Dublin

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CARTOONS BY GEORGE GRAINGER ALDRIDGE

RECOMMENDED by The New York Times and The Daily Globe

... irreverent, guffaw provoking ... irresistible ... ”

ALICE FEIRING in WALL STREET JOURNAL 2ND BEST! DAMN!

“the Rimbaud of McLaren Vale … bandanna on head, standing on a table outside the Victory Hotel, shooting geology at the wine-sluggers with all the fiery conviction of a temperance preacher in the goldfields” Andrew Jefford

Just be wary of Philip White, the Charles Bukowski of Australian wine writers and for my money one of the best in the business, who recently described a wine as “a stark raving crazy transvestite musk ox with bad breath and a dirty botty” Nick Ryan Men’s Style

“forthright, opinionated, aggressive - sometimes just plain wrong” The Key Report

“Australian wine has never seen, and will never again likely see, a writer as great” Campbell Mattinson

“BONKERS!” Fiona Beckett THE GUARDIAN

“On form, Philip is Australian wine’s Kerouac, Hemingway and la Montaigne rolled into one.”

MAX ALLEN - THE AUSTRALIAN

04 March 2013

LOOK NEITHER TO LEFT NOR RIGHT


1 comment:

Anonymous said...

hi ... just note to p0int out that the photo illustrating the quote from Marcus Aurelius' Meditations is acually of Marcus Aurelius Antoninus called Caracalla. Different emperor altogether.
"Although his name claimed his descent from early emperors, Marcus Aurelius Antoninus (r. 211–17 A.D.), nicknamed Caracalla, soon abandoned the iconographic traditions of the Antonine dynasty that had been employed in his early portraits in favor of a military style characterized by closely cropped curls and a stubble beard. In this portrait head, once part of a statue of which other fragments survive, the shortness of Caracalla's hair and beard were created by stippling a chisel across the surface of the stone, a technique called "negative carving." This technique not only marks a drastic shift away from the long, deeply drilled locks typical of Antonine (1998.209) and early Severan portraits, but, together with an intense rendering of facial expression, produces an immediate and powerful presence—the emperor's scowl is threatening and entirely realistic.' it is on display at the Met in NY . Cheers