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Some of the authors pretend to apologise for being unable to resist the temptation to joke about sex, but the truth is it really can be very funny. This isn’t to deny its tragic side. 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Speculating in her diary about women and their clothes, she wrote: ‘my love of clothes interests me profoundly only it is not love; and what it is I must discover.’ It took history a long time to catch up with Woolf’s insights. In the 1980s, binary opposites – left and right, modernism and postmodernism – had yet to lose their grip, and a subject as delicate as the meaning of clothes could not easily get a purchase. ‘Nobody who feels superior to fashion can write well about it,’ Angela Carter observed in the \u003cem\u003eLRB\u003c\/em\u003e in 1985. Eventually, the brakes came off and the chorus became, instead, ‘yes, but is it art?’ It is, this collection concludes – but it’s also much more interesting than that.\u003c\/p\u003e\n\u003cp\u003eFeaturing: Joanna Biggs, Anita Brookner, Angela Carter, Jenny Diski, Rosemary Hill, Anne Hollander, Kevin Kopelson, David Nasaw, Elaine Showalter, Alice Spawls and E.S. Turner.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"hidden-xs\"\u003e\n\u003cheader\u003e\n\u003cheader\u003e\u003c\/header\u003e\n\u003c\/header\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e","brand":"The LRB Store","offers":[{"title":"Default Title","offer_id":20623081668678,"sku":"LRB157-COLLECT6CLOTHES","price":5.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0057\/0667\/8342\/products\/Frock_Consciousness.jpg?v=1554739291"},{"product_id":"lrb-cover-prints-2010","title":"LRB Cover Prints: 2010","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eImportant: Please make sure you choose the cover you require from the drop-down menu. Clicking an image will not automatically select the product for you.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan class=\"smallcapslede\"\u003e‘In the days \u003c\/span\u003ebefore artists brought colour to the cover, the \u003cem\u003eLondon Review of Books\u003c\/em\u003e was black and white. Of course, originally, it had no front at all: the first edition, in 1979, was meekly folded into the \u003cem\u003eNew York Review of Books\u003c\/em\u003e. The following year it jumped out of that pouch and into a world where literary journals were routinely typographical. Not all faces around the editorial table lit up when Karl Miller suggested the independent paper should have a giant picture on the cover. You’ll never find enough images, said Mark Boxer. He was wrong about that.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSusannah Clapp - \u003cem\u003eLondon Review of Books,\u003c\/em\u003e 21 June 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAll orders will be fulfilled and delivered via our printing partner Art4site. You will receive email notifications about delivery from them. Cover Prints are currently only available for delivery to the UK.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The LRB Store","offers":[{"title":"Volume 32, Issue 1 - 7 January 2010 \/ A3 (297 x 420 mm) (11.7 x 16.5 in)","offer_id":20711152058438,"sku":"LRBCP:3201A3","price":70.0,"currency_code":"GBP","in_stock":true},{"title":"Volume 32, Issue 1 - 7 January 2010 \/ A2 (420 x 594 mm) (16.5 x 23.4 in)","offer_id":20711152091206,"sku":"LRBCP:3201A2","price":90.0,"currency_code":"GBP","in_stock":true},{"title":"Volume 32, Issue 2 - 28 January 2010 \/ A3 (297 x 420 mm) (11.7 x 16.5 in)","offer_id":20711152123974,"sku":"LRBCP:3202A3","price":70.0,"currency_code":"GBP","in_stock":true},{"title":"Volume 32, Issue 2 - 28 January 2010 \/ A2 (420 x 594 mm) (16.5 x 23.4 in)","offer_id":20711152156742,"sku":"LRBCP:3202A2","price":90.0,"currency_code":"GBP","in_stock":true},{"title":"Volume 32, Issue 3 - 11 February 2010 \/ A3 (297 x 420 mm) (11.7 x 16.5 in)","offer_id":20711152189510,"sku":"LRBCP:3203A3","price":70.0,"currency_code":"GBP","in_stock":true},{"title":"Volume 32, Issue 3 - 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Clicking an image will not automatically select the product for you.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan class=\"smallcapslede\"\u003e‘In the days \u003c\/span\u003ebefore artists brought colour to the cover, the \u003cem\u003eLondon Review of Books\u003c\/em\u003e was black and white. Of course, originally, it had no front at all: the first edition, in 1979, was meekly folded into the \u003cem\u003eNew York Review of Books\u003c\/em\u003e. The following year it jumped out of that pouch and into a world where literary journals were routinely typographical. Not all faces around the editorial table lit up when Karl Miller suggested the independent paper should have a giant picture on the cover. You’ll never find enough images, said Mark Boxer. He was wrong about that.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSusannah Clapp - \u003cem\u003eLondon Review of Books,\u003c\/em\u003e 21 June 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAll orders will be fulfilled and delivered via our printing partner Art4site. You will receive email notifications about delivery from them. 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He was wrong about that.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSusannah Clapp - \u003cem\u003eLondon Review of Books,\u003c\/em\u003e 21 June 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAll orders will be fulfilled and delivered via our printing partner Art4site. You will receive email notifications about delivery from them. 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Susannah Clapp, who edited many of them, described her as the ideal contributor: ‘She wrote to length, she wrote to time, she wrote without fuss, she wrote a lot, and she wrote always with a steady brilliance.’ As a reviewer, she was appreciative, knowledgable, succinct, and usually, though not always, benign. \u003c\/p\u003e\n\u003cp\u003eThis selection of Fitzgerald at her best includes pieces on Stevie Smith, Alain-Fournier, Adrian Mole, girls’ schools, Roddy Doyle, \u003cem\u003eWild Swans\u003c\/em\u003e, wartime London, Anne Enright and Charlotte Mew.\u003c\/p\u003e","brand":"The LRB Store","offers":[{"title":"Default Title","offer_id":39351923900487,"sku":"LRB139-LRBSELECTC2","price":9.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0057\/0667\/8342\/products\/penelope-fitzgerald_1024x1024_2x_bbc2c13d-e9e6-4caf-8188-95365ee386cf.jpg?v=1620657589"},{"product_id":"kaweco-classic-sports-fountain-pen","title":"Kaweco Classic Sport Navy Fountain Pen","description":"\u003cp\u003eThe Kaweco Classic Sport Fountain Pen, designed in 1911 and scarcely altered since, entirely deserves its worldwide following. 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Small enough to carry in a pocket, it expands to 13 cm on opening. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eView our full Kaweco range \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003ca href=\"https:\/\/www.lrbstore.co.uk\/collections\/pens\" data-mce-href=\"https:\/\/www.lrbstore.co.uk\/collections\/pens\"\u003ehere\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"The LRB Store","offers":[{"title":"Default Title","offer_id":39362266988615,"sku":"LRB191-ROLLERPENBLUE","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0057\/0667\/8342\/products\/Kaweco_Rollerball_Pen.jpg?v=1622209632"},{"product_id":"lrb-collections-10-why-goldwyn-wore-jodhpurs","title":"LRB Collections 10: ‘Why Goldwyn Wore Jodhpurs’","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cb\u003eWriting about Hollywood from the \u003ci\u003eLondon Review of Books\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eWriting about Hollywood is often the preserve of doomed romantics, because it has, for more than a hundred years, been the place where true romance goes to die, or to be monetised, which is much the same thing. Realists in Hollywood are like the two thieves at the Crucifixion: a nice warm-up for the conscience, but not the actual Messiah. What people want is fabulousness. It can come dangling various causes like amazing earrings, but what the audience loves is a superhuman figment. The very good actors in Hollywood don’t have basic selves, in the normal sense: they have public relations, and they have a conception of otherness that neutralises their truth while exploiting it. As you’ll discover in this collection, Hollywood is a state of mind, and it follows like global warming from the habits and conditions of the planet. Difference is: you can love it. 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He was wrong about that.’\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSusannah Clapp - \u003cem\u003eLondon Review of Books,\u003c\/em\u003e 21 June 2018\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eAll orders will be fulfilled and delivered via our printing partner \u003ca href=\"https:\/\/www.art4site.co.uk\" title=\"Art4Site\"\u003eArt4site\u003c\/a\u003e. You will receive email notifications about delivery from them. 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