Sunday, June 30, 2013

Obituaries / Bert Stern

Bert Stern and Marilyn Monroe

Bert Stern

Bert Stern, the celebrity photographer, who has died aged 83, became one of the highest-paid talents in the American advertising industry, and famously took more than 2,000 pictures of Marilyn Monroe in an intimate three-day shoot — the so-called “Last Sitting” — shortly before her death in 1962.



Marilyn Monroe
Photos by Bert Stern

Many showed the actress naked, or posing through diaphanous scarves. “She was so beautiful at that time,” Stern recalled. “I didn’t say: 'Pose nude.’ It was more one thing leading to another: You take clothes off and off and off and off and off. She thought for a while. I’d say something and the pose just led to itself.”
Although self-taught, Stern helped to revolutionise Madison Avenue and the world of 1960s advertising, recently depicted on television in Mad Men, by transforming simple commercial photography into a branch of conceptual art. With contemporaries like Irving Penn and Richard Avedon, he reinvented the vocabulary of glossy magazines (which had hitherto regarded pictures mainly as a means of illustrating advertising copy) by the use of clear, uncluttered and arresting images.
His first assignment, for Smirnoff vodka in 1955, for example, featured a simple close-up of a martini glass in the heat of the Egyptian desert with the Great Pyramid at Giza shimmering in the background. One American critic called Stern’s photograph “the most influential break with traditional advertising photography” of its era.
As a portraitist he photographed some of the world’s most beautiful women, among them Elizabeth Taylor, Audrey Hepburn, Sophia Loren and Brigitte Bardot. Stern also shot pictures of the then 13-year-old actress Sue Lyon in heart-shaped red sunglasses — one became the poster image for Stanley Kubrick’s controversial film Lolita (1962).
An obsessive womaniser, Stern admitted that he “fell in love with everything I photographed”. But it was the so-called “Last Sitting” of Marilyn Monroe for Vogue magazine that was to furnish his most enduring portfolio. He confessed to trying to get the actress into bed as she peeled off layers of clothing during the shoot at a Hollywood hotel. Whether or not he succeeded was never clear, though he later suggested: “I could have hung up the camera, run off with her, and lived happily ever after.”
The son of Jewish immigrants, Bertram Stern was born on October 3 1929 in Brooklyn, where his father worked as a children’s portrait photographer. After dropping out of high school at the age of 16, he landed a job in the post room at Look magazine, where he met Stanley Kubrick, the magazine’s youngest staff photographer, with whom he shared “a mutual interest in beautiful women”; the pair formed a close and lasting friendship.

Bern Stern and Marilyn Monroe
Photo by Neilson Barnard

Despite his lack of training, Stern became assistant to Look’s art director Hershal Bramson. This led to a position as art director at Mayfair magazine, where Stern bought a camera, learned how to develop film and make contact sheets, and started taking his own pictures.
In 1951 Stern’s career was interrupted by the Korean War, and he was drafted into the US Army. But instead of being posted to Korea, he was diverted to Japan and assigned to the photographic department, where he learned to use a film camera, shooting news footage for the Army while taking stills for himself.
After his discharge his old boss Bramson, then working for a small advertising agency, offered Stern a photographer’s job on a new campaign for Smirnoff. Walking down Fifth Avenue with a martini glass filled with water for inspiration, Stern noticed the Plaza Hotel was inverted in the glass that acted like a lens and turned the image upside down. This gave him the idea to photograph the Pyramid of Giza upside down in the glass, and in 1955 he flew to Egypt to capture the image.
After a brief detour into documentary film making — he directed Jazz on a Summer’s Day (1959), a much-admired record of the 1958 Newport Jazz Festival — Stern returned to stills photography. By 1962 he had begun photographing personalities as well as advertisements and, having joined Vogue magazine, was invited to Rome by Twentieth Century Fox to photograph Elizabeth Taylor on the set of Cleopatra.
Richard Burton, whom Stern had already photographed at his studio in New York, was playing Mark Antony and began an affair with Elizabeth Taylor. Stern became friends with both and was able to shoot “more candid, fun pictures” of the couple when they were together off set.
Stern’s contract at Vogue gave him a free hand to photograph what he liked, and in June 1962, when he realised that Marilyn Monroe had never been photographed for the magazine, he arranged a shoot at the Bel-Air Hotel, where he adapted one of the spacious suites as a studio. “You’re beautiful,” he exclaimed as he greeted her in the corridor, and she replied: “What a nice thing to say”.
At Monroe’s suggestion, she posed naked, draped in scarves, pearls, paper flowers and bedsheets during the 12-hour session, which ended at dawn. The editors at Vogue were ecstatic , and sent Stern back to photograph Monroe for a further two days, during which he shot the black-and-white images that became some of the most intimate celebrity portraits ever taken.
When Stern submitted his pictures — he had shot 2,571 over three days — Vogue decided to use the mono pictures rather than the colour nudes. “They called me up to see the layouts,” Stern recalled. “There was something haunting about them. That Monday, she died.”
But as his career flourished through the 1960s, Stern’s personal life fell apart, particularly as he underpinned his exhausting work schedule — he booked as many as seven shoots a day — with heavy use of amphetamines. Eventually his marriage to the beautiful New York City Ballet prima ballerina Allegra Kent collapsed, along with his health and his finances.
Recovering in Spain, he had the idea for The Pill Book, a photographic compilation of different pills which he shot as simple still lifes. The book sold more than 18 million copies, and by the late 1970s Stern had returned to America to photograph portraits and fashion.
In 1983, through a friend, he met Shannah Laumeister, then 13, whom he photographed. After a second sitting four years later, she became his girlfriend and muse, and the couple secretly married in 2009. In 2012 Shannah Laumeister directed a candid film documentary, Bert Stern: Original Madman, which was released earlier this year.
In 2000 Stern’s photographs of Monroe were published in a mammoth book, Marilyn Monroe: The Complete Last Sitting. He latterly sought to duplicate his Monroe success with Lindsay Lohan, and while the pictures proved a tabloid sensation, they were widely criticised as tawdry and exploitative.
Stern and Allegra Kent, with whom he had a son and two daughters, divorced in 1975. Shannah Laumeister survives him.
Bert Stern, born October 3 1929, died June 26 2013

Saturday, June 29, 2013

Richard Matheson / Button, Button


BUTTON, BUTTON
by Richard Matheson
BIOGRAPHY

The package was lying by the front door--a cube-shaped carton sealed with tape, the name and address printed by hand: MR. AND MRS. ARTHUR LEWIS, 217 E. 37TH STREET, NEW YORK, NEW YORK 10016. Norma picked it up, unlocked the door, and went into the apartment. It was just getting dark.
After she put the lamb chops in the broiler, she made herself a drink and sat down to open the package.
Inside the carton was a push-button unit fastened to a small wooden box. A glass dome covered the button. Norma tried to lift it off, but it was locked in place. She turned the unit over and saw a folded piece of paper Scotch-taped to the bottom of the box. She pulled it off: "Mr. Steward will call on you at eight p.m."
Norma put the button unit beside her on the couch. She sipped the drink and reread the typed note, smiling.
A few moments later, she went back into the kitchen to make the salad.
The doorbell rang at eight o'clock. "I'll get it," Norma called from the kitchen. Arthur was in the living room, reading.
There was a small man in the hallway. He removed his hat as Norma opened the door. "Mrs. Lewis?" he inquired politely.
"Yes?"
"I'm Mr. Steward."
"Oh, yes." Norma repressed a smile. She was sure now it was a sales pitch.
"May I come in?" asked Mr. Steward.
"I'm rather busy," Norma said. "I'll get you your watchamacallit, though." She started to turn.
"Don't you want to know what it is?"
Norma turned back. Mr. Steward's tone had been offensive. "No, I don't think so," she said.
"It could prove very valuable," he told her.
"Monetarily?" she challenged.
Mr. Steward nodded. "Monetarily," he said.
Norma frowned. She didn't like his attitude. "What are you trying to sell?" she asked.
"I'm not selling anything," he answered.
Arthur came out of the living room. "Something wrong?"
Mr. Steward introduced himself.
"Oh, the ..." Arthur pointed toward the living room and smiled. "What is that gadget, anyway?"
"It won't take long to explain," replied Mr. Steward. "May I come in?"
"If you're selling something ..." Arthur said.
Mr. Steward shook his head. "I'm not."
Arthur looked at Norma. "Up to you," she said.
He hesitated. "Well, why not?" he said.
They went into the living room and Mr. Steward sat in Norma's chair. He reached into an inside coat pocket and withdrew a small sealed envelope. "Inside here is a key to the bell-unit dome," he said. He set the envelope on the chairside table. "The bell is connected to our office."
"What's it for?" asked Arthur.
"If you push the button," Mr. Steward told him, "somewhere in the world, someone you don't know will die. In return for which you will receive a payment of fifty thousand dollars."
Norma stared at the small man. He was smiling.
"What are you talking about?" Arthur asked him.
Mr. Steward looked surprised. "But I've just explained," he said.
"Is this a practical joke?" asked Arthur.
"Not at all. The offer is completely genuine."
"You aren't making sense," Arthur said. "You expect us to believe ..."
"Whom do you represent?" demanded Norma.
Mr. Steward looked embarrassed. "I'm afraid I'm not at liberty to tell you that," he said. "However, I assure you the organization is of international scope."
"I think you'd better leave," Arthur said, standing.
Mr. Steward rose. "Of course."
"And take your button unit with you."
"Are you sure you wouldn't care to think about it for a day or so?"
Arthur picked up the button unit and the envelope and thrust them into Mr. Steward's hands. He walked into the hall and pulled open the door.
"I'll leave my card," said Mr. Steward. He placed it on the table by the door.
When he was gone, Arthur tore it in half and tossed the pieces onto the table. "God!" he said.
Norma was still sitting on the sofa. "What do you think it was?" she asked.
"I don't care to know," he answered.
She tried to smile but couldn't. "Aren't you curious at all?"
"No." He shook his head.
After Arthur returned to his book, Norma went back to the kitchen and finished washing the dishes.
"Why won't you talk about it?" Norma asked later.
Arthur's eyes shifted as he brushed his teeth. He looked at her reflection in the bathroom mirror.
"Doesn't it intrigue you?"
"It offends me," Arthur said.
"I know, but--" Norma rolled another curler in her hair "--doesn't it intrigue you, too?"
"You think it's a practical joke?" she asked as they went into the bedroom.
"If it is, it's a sick one."
Norma sat on the bed and took off her slippers.
"Maybe it's some kind of psychological research."
Arthur shrugged. "Could be."
"Maybe some eccentric millionaire is doing it."
"Maybe."
"Wouldn't you like to know?"
Arthur shook his head.
"Why?"
"Because it's immoral," he told her.
Norma slid beneath the covers. "Well, I think it's intriguing," she said.
Arthur turned off the lamp and leaned over to kiss her. "Good night," he said.
"Good night." She patted his back.
Norma closed her eyes. Fifty thousand dollars, she thought.
In the morning, as she left the apartment, Norma saw the card halves on the table. Impulsively, she dropped them into her purse. She locked the front door and joined Arthur in the elevator.
While she was on her coffee break, she took the card halves from her purse and held the torn edges together. Only Mr. Steward's name and telephone number were printed on the card.
After lunch, she took the card halves from her purse again and Scotch-taped the edges together. Why am I doing this? she thought.
Just before five, she dialed the number.
"Good afternoon," said Mr. Steward's voice.
Norma almost hung up but restrained herself. She cleared her throat. "This is Mrs. Lewis," she said.
"Yes, Mrs. Lewis." Mr. Steward sounded pleased.
"I'm curious."
"That's natural," Mr. Steward said.
"Not that I believe a word of what you told us."
"Oh, it's quite authentic," Mr. Steward answered.
"Well, whatever ..." Norma swallowed. "When you said someone in the world would die, what did you mean?"
"Exactly that," he answered. "It could be anyone. All we guarantee is that you don't know them. And, of course, that you wouldn't have to watch them die."
"For fifty thousand dollars," Norma said.
"That is correct."
She made a scoffing sound. "That's crazy."
"Nonetheless, that is the proposition," Mr. Steward said. "Would you like me to return the button unit?"
Norma stiffened. "Certainly not." She hung up angrily.
The package was lying by the front door; Norma saw it as she left the elevator. Well, of all the nerve, she thought. She glared at the carton as she unlocked the door. I just won't take it in, she thought. She went inside and started dinner.
Later, she carried her drink to the front hall. Opening the door, she picked up the package and carried it into the kitchen, leaving it on the table.
She sat in the living room, sipping her drink and looking out the window. After awhile, she went back into the kitchen to turn the cutlets in the broiler. She put the package in a bottom cabinet. She'd throw it out in the morning.
"Maybe some eccentric millionaire is playing games with people," she said.
Arthur looked up from his dinner. "I don't understand you."
"What does that mean?"
"Let it go," he told her.
Norma ate in silence. Suddenly, she put her fork down. "Suppose it's a genuine offer," she said.
Arthur stared at her.
"Suppose it's a genuine offer."
"All right, suppose it is!" He looked incredulous. "What would you like to do? Get the button back and push it? Murder someone?"
Norma looked disgusted. "Murder."
"How would you define it?"
"If you don't even know the person?" Norma asked.
Arthur looked astounded. "Are you saying what I think you are?"
"If it's some old Chinese peasant ten thousand miles away? Some diseased native in the Congo?"
"How about some baby boy in Pennsylvania?" Arthur countered. "Some beautiful little girl on the next block?"
"Now you're loading things."
"The point is, Norma," he continued, "that who you kill makes no difference. It's still murder."
"The point is," Norma broke in, "if it's someone you've never seen in your life and never will see, someone whose death you don't even have to know about, you still wouldn't push the button?"
Arthur stared at her, appalled. "You mean you would?"
"Fifty thousand dollars, Arthur."
"What has the amount--"
"Fifty thousand dollars, Arthur," Norma interrupted. "A chance to take that trip to Europe we've always talked about."
"Norma, no."
"A chance to buy that cottage on the Island."
"Norma, no." His face was white. "For God's sake, no!"
She shuddered. "All right, take it easy," she said. "Why are you getting so upset? It's only talk."
After dinner, Arthur went into the living room. Before he left the table, he said, "I'd rather not discuss it anymore, if you don't mind."
Norma shrugged. "Fine with me."
She got up earlier than usual to make pancakes, eggs, and bacon for Arthur's breakfast.
"What's the occasion?" he asked with a smile.
"No occasion." Norma looked offended. "I wanted to do it, that's all."
"Good," he said. "I'm glad you did."
She refilled his cup. "Wanted to show you I'm not ..." She shrugged.
"Not what?"
"Selfish."
"Did I say you were?"
"Well--" She gestured vaguely "--last night ..."
Arthur didn't speak.
"All that talk about the button," Norma said. "I think you--well, misunderstood me."
"In what way?" His voice was guarded.
"I think you felt--" She gestured again. "--that I was only thinking of myself."
"Oh."
"I wasn't."
"Norma."
"Well, I wasn't. When I talked about Europe, a cottage on the Island ..."
"Norma, why are we getting so involved in this?"
"I'm not involved at all." She drew in a shaking breath. "I'm simply trying to indicate that ..."
"What?"
"That I'd like for us to go to Europe. Like for us to have a nicer apartment, nicer furniture, nicer clothes. Like for us to finally have a baby, for that matter."
"Norma, we will," he said.
"When?"
He stared at her in dismay. "Norma ..."
"When?"
"Are you--" He seemed to draw back slightly. "Are you really saying ...?"
"I'm saying that they're probably doing it for some research project!" she cut him off. "That they want to know what average people would do under such a circumstance! That they're just saying someone would die, in order to study reactions, see if there'd be guilt, anxiety, whatever! You don't really think they'd kill somebody, do you?"
Arthur didn't answer. She saw his hands trembling. After awhile, he got up and left.
When he'd gone to work, Norma remained at the table, staring into her coffee. I'm going to be late, she thought. She shrugged. What difference did it make? She should be home anyway, not working in an office.
While she was stacking the dishes, she turned abruptly, dried her hands, and took the package from the bottom cabinet. Opening it, she set the button unit on the table. Shestared at it for a long time before taking the key from its envelope and removing the glass dome. She stared at the button. How ridiculous, she thought. All this over a meaningless button.
Reaching out, she pressed it down. For us, she thought angrily.
She shuddered. Was it happening? A chill of horror swept across her.
In a moment, it had passed. She made a contemptuous noise. Ridiculous, she thought. To get so worked up over nothing.
She had just turned the supper steaks and was making herself another drink when the telephone rang. She picked it up. "Hello?"
"Mrs. Lewis?"
"Yes?"
"This is the Lenox Hill Hospital."
She felt unreal as the voice informed her of the subway accident, the shoving crowd. Arthur pushed from the platform in front of the train. She was conscious of shaking her head but couldn't stop.
As she hung up, she remembered Arthur's life insurance policy for $25,000, with double indemnity for--
"No." She couldn't seem to breathe. She struggled to her feet and walked into the kitchen numbly. Something cold pressed at her skull as she removed the button unit from the wastebasket. There were no nails or screws visible. She couldn't see how it was put together.
Abruptly, she began to smash it on the sink edge, poundingit harder and harder, until the wood split. She pulled the sides apart, cutting her fingers without noticing. There were no transistors in the box, no wires or tubes. The box was empty.
She whirled with a gasp as the telephone rang. Stumbling into the living room, she picked up the receiver.
"Mrs. Lewis?" Mr. Steward asked.
It wasn't her voice shrieking so; it couldn't be. "You said I wouldn't know the one that died!"
"My dear lady," Mr. Steward said, "do you really think you knew your husband?"



Friday, June 28, 2013

Richard Matheson / Born of Man and Woman



BORN OF MAN AND WOMAN
by Richard Matheson
BIOGRAPHY

X — This day when it had light mother called me retch. You retch she said. I saw in her eyes the anger. I wonder what it is a retch.
This day it had water falling from upstairs. It fell all around. I saw that. The ground of the back I watched from the little window. The ground it sucked up the water like thirsty lips. It drank too much and it got sick and runny brown. I didnt like it.
Mother is a pretty I know. In my bed place with cold walls around I have a paper things that was behind the furnace. It says on it 5CREENSTARS. I see in the pictures faces like of mother and father. Father says they are pretty. Once he said it.
And also mother he said. Mother so pretty and me decent enough. Look at you he said and didnt have the nice face. I touched his arm and said it is alright father. He shook and pulled away where I couldnt reach.
Today mother let me off the chain a little so I could look out the little window. Thats how l saw the water falling from upstairs.


XX — This day it had goldness in the upstairs. As I know when I looked at it my eyes hurt. After I look at it the cellar is red.
I think this was church. They leave the upstairs. The big machine swallows them and rolls out past and is gone. In the back part is the little mother. She is much small than me. lam I can see out the little window all I like.
In this day when it got dark I had eat my food and some bugs. I hear laughs upstairs. I like to know why there are laughs for. I took the chain from the wall and wrapped it around me. I walked squish to the stairs. They creak when I walk on them. My legs slip on them because I dont walk on stairs. My feet stick to the wood.
I went up and opened a door. It was a white place. White as white jewels that come from upstairs sometime. I went in and stood quiet. I hear the laughing some more. I walk to the sound and look through to the people. More people than I thought was. I thought I should laugh with them.
Mother came out and pushed the door in. It hit me and hurt. I fell back on the smooth floor and the chain made noise. I cried. She made a hissing noise into her and put her hand on her mouth. Her eyes got big.
She looked at me. I heard father call. What fell he called. She said a iron board. Come help pick it up she said. He came and said now is that so heavy you need. He saw me and grew big. The anger came in his eyes. He hit me. I spilled some of the drip on the floor from one arm. It was not nice. It made ugly green on the floor.
Father told me to go to the cellar. I had to go. The light it hurt some now in my eyes. It is not so like that in the cellar.
Father tied my legs and arms up. He put me on my bed. Upstairs I heard laughing while I was quiet there looking on a black spider that was swinging down to me. I thought what father said. Ohgod he said. And only eight.


XXX — This day father hit in the chain again before it had light. I have to try pull it out again. He said I was bad to come upstairs. He said never do that again or he would beat me hard. That hurts.
I hurt. I slept the day and rested my head against the cold wall. I thought of the white place upstairs.


XXXX — I got the chain from the wall out. Mother was upstairs. I heard little laughs very high. I looked out the window. I saw all little people like the little mother and little fathers too. They are pretty.
They were making nice noise and jumping around the ground. Their legs was moving hard. They are like mother and father. Mother says all right people look like they do.
One of the little fathers saw me. He pointed at the window. I let go and slid down the wall in the dark. I curled up as they would not see. I heard their talks by the window and foots running. Upstairs there was a door hitting. I heard the little mother call upstairs. I heard heavy steps and I rushed in my bed place. I hit the chain in the wall and lay down on my front.
I heard my mother come down. Have you been at the window she said. I heard the anger. Stay away from the window. You have pulled the chain out again.
She took the stick and hit me with it. I didnt cry. I cant do that. But the drip ran all over the bed. She saw it and twisted away and made a noise. Oh mygodmygod she said why have you done this to me? I beard the stick go bounce on the stone floor. She ran upstairs. I slept the day.



XXXXX — This day it had water again. When mother was upstairs I heard the little one come slow down the steps. I hidded myself in the coal bin for mother would have anger if the little mother saw me.
She had a little live thing with her. It walked on the arms and had pointy ears. She said things to it.
It was all right except the live thing smelled me. It ran up the coal and looked down at me. The hairs stood up. In the throat it made an angry noise. I hissed but it jumped on me.
I didnt want to hurt it. I got fear because it bit me harder than the rat does. I hurt and the little mother screamed. I grabbed the live thing tight. It made sounds I never heard. I pushed it all together. It was all lumpy and red on the black coal.
I hid there when mother called. I was afraid of the stick. She left. I crept over the coal with the thing. I hid it under my pillow and rested on it. I put the chain in the wall again.


X — This is another times. Father chained me tight. I hurt because he beat me. This time I hit the stick out of his hands and made noise. He went away and his lace was white. He ran out of my bed place and locked the door.
I am not so glad. All day it is cold in here. The chain comes slow out of the wall. And I have a bad anger with mother and father. I will show them. I will do what I did that once.
I will screech and laugh loud. I will run on the walls. Last I will hang head down by all my legs and laugh and drip green all over until they are sorry they didn't be nice to me.
If they try to beat me again Ill hurt them. I will.

X —




My hero / Louise Bourgeois by Tracey Emin


Louise Bourgeois by Robert Mapplethorpe

My hero: Louise Bourgeois 

by Tracey Emin


There isn't a museum in the world that isn't trying to get their hands on her work, yet Louise Bourgeois hasn't become a mainstream artist
Artist Louise Bourgeois in her Brooklyn studio
Louise Bourgeois in her Brooklyn studio. Photograph: Claudio Edinger/Corbis Saba
I first heard about Louise Bourgeois in 1995 when she was shown at the Tate. The curator, Stuart Morgan, always used to say to me that I'd like his friend who lived in New York, and the way he talked about her and her art made me think she was someone of my age. So I was quite shocked when I found out she was in her 80s. I was already making work about personal experiences, but Louise was doing it on a different level and, while her work appears to be very emotional, it is also highly intellectual. Even though she was passionate and romantic, she was also very academic and could have been anything – a scientist, a mathematician – but she chose to do art.
I met her towards the end of her life and we collaborated. She was formidable and I was quite in awe of her presence, her stamina and her attitude. But we got on really well, and it felt empowering just to know someone like that. In Manchester, I am taking part in the 20th anniversary of the critic Hans Ulrich Obrist's "Do it" project in which artists respond to the instructions of artists from an earlier generation. My partner is Louise and I'll be responding to her idea that people should just go out on the street and "smile at a stranger". In response, I've written a poem that will be given to people to take away with them.
Although today there is not a museum in the world that isn't trying to get their hands on her work, Louise hasn't become a mainstream artist. She is still out there in her own orbit. When we collaborated I was obviously interested in the work we were doing, but I had no idea of what she was actually giving me. The repercussions – in terms of people met and friendships made – changed my life, which is something you don't expect when you meet someone. It has been a really lovely thing.




2009
001 My hero / Oscar Wilde by Michael Holroyd
002 My hero / Harley Granville-Barker by Richard Eyre
003 My hero / Edward Goldsmith by Zac Goldsmith
004 My hero / Fridtjof Nansen by Sara Wheeler 
005 My hero / Mother Mercedes Lawler IBVM by Antonia Fraser

007 My hero / Ernest Shepard by Richard Holmes
008 My hero / JG Ballard by Will Self
009 My hero / Alan Ross by William Boyd
010 My hero / Ben the labrador by John Banville

011 My hero / Vicent van Gogh by Margaret Drabble
012 My hero / Franz Marek by Eric Hobsbawm

2010

017 My hero / Jack Yeats by Colm Tóibín
018 My hero / Francisco Goya by Diana Athill
019 My hero / Max Stafford-Clark by Sebastian Barry
020 My hero / Arthur Holmes by Richard Fortey

036 My hero / Robert Lowell by Jonathan Raban
037 My hero / Beryl Bainbridge by Michael Holroyd
038 My hero / Charles Schulz by Jenny Colgan
039 My hero / Oliver Knussen by Adam Foulds
040 My hero / Annie Proulx by Alan Warner

041 My hero / David Lynch by Paul Murray
042 My hero / Edwin Morgan by Robert Crawford
043 My hero / Anne Lister by Emma Donoghue
044 My hero / Jane Helen Harrinson by Mary Beard
045 My hero / Edmund Burke by David Marquand
046 My hero / Shelagh Deleaney by Jeanette Winterson
047 My hero / Christopher Marlowe by Val McDermid
048 My hero / Gwen John by Anne Enright
049 My hero / Michael Mayne by Susan Hill
050 My hero / Stanley Spencer by Howard Jacobson

051 My hero / William Beveridge by Will Hutton
052 My hero / Jean McConville by Amanda Foreman
053 My hero / Alexander Pushkin by Elaine Feinstein
058 My hero / Cy Twombly by Edmund de Waal

2011
079 My hero / Gene Wolfe by Neil Gaiman
087 My hero / Alberto Moravia by John Burnside
096 My hero / Isaac Babel by AD Miller
097 Lucian Freud by Esi Edugyan
100 Thomas Tranströmer by Robin Robertson
102 My hero / David Hockney by Susan Hill

2012

190 My hero / Iris Murdoch by Charlotte Mendelson
194 My hero / René Descartes by James Kelman
199 My hero / Albert Camus by Geoff Dyer

2015
2016