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Cover Artist: Slightly Foxed Issue 66, Paul Cleden, ‘Boats and Coots’

Cover Artist: Slightly Foxed Issue 66, Paul Cleden, ‘Boats and Coots’

Paul Cleden is an illustrator and printmaker who is especially drawn to figurative movement – the dynamic shapes of cyclists or skiers, rowers or divers, but equally a crowd at rush hour leaving a train or a dance hall crowded with figures. In depicting such scenes his use of linocut allows for beautiful flowing lines and the dramatic overlap of colours. His work can be seen in galleries across the UK and in commissions from, among others, the National Trust and the Royal Society for the Protection of Birds. For more see his website www.paulcleden.co.uk.
A Classical Education | Chapter 6: Booterstown

A Classical Education | Chapter 6: Booterstown

It had been decided at the lunch that Edward’s mother would come to the speech day in the following summer and that I would introduce her to my parents, with a view to arranging for Edward to spend a fortnight at my home in Tunbridge Wells and for me then to follow on, later in the summer, and stay at her house in Dublin for a fortnight. I did not much relish the prospect of having Edward on my hands at home for a fortnight. I did not know how to keep him occupied, and Tunbridge Wells was a place I had never felt much like sharing with anyone, even my best friend; I had grown accustomed to keeping it to myself. And I was none too keen to stay with his mother; but the idea of visiting, for the first time, a foreign country quite outweighed these considerations.
‘Every September day is born in a caul’ | A Countryman’s Autumn Notebook

‘Every September day is born in a caul’ | A Countryman’s Autumn Notebook

Greetings from Hoxton Square where we are beginning to ready your pre-orders of Adrian Bell’s A Countryman’s Autumn Notebook. In this, the final selection from Adrian Bell’s weekly essays, written between 1950 and 1980 for his local newspaper the Eastern Daily Press, completes our seasonal quartet. ‘You can stand in the windless calm of an autumn evening and hear the heartbeat of the countryside,’ Bell writes, and it’s that steady, persistent, unchanging heartbeat that we can hear in these beautifully observed little pieces.

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