"Recognition for a Much-Neglected English Catholic Artist", 8 November, 2018 by K.V. Turley:
The latest Special Issue of the Notre-Dame based journal, Religion & Literature is "David Jones: Towards a Theology of History," guest-edited by Anna Svendsen and Jasmine Hunter Evans, which includes the following articles:
Anna Svendsen and Jasmine Hunter Evans, “Introduction”
Tom Villis, “When was ‘the Break’? David Jones and Catholic Ideas of Rupture in British History”
Jasmine Hunter Evans and Christine Pagnoulle, “‘The Agent’: Probing into Agency”
Ewan King, “Narrating Communion: Gwenhwyfar and the Encounter of Chronicle and Critical History”
Joseph Simmons, “David Jones’s Irenaean Theology of History”
Sarah Coogan, “‘You will furnish / that fatigue’: Typological Interpretation and David Jones’s Ambiguous Soldier”
Tom Bromwell, “The Apocalyptic Paratext: The Frontispiece and Tailpiece to In Parenthesis”
Adam Schwartz, “‘Getting into history’: The Great War and David Jones’s Memory”
John David Ramsey, “David Jones, Action, Anamnesis, and the Roman Catholic Mass”
Francesca Brooks, “Liturgy, Performance, and Poetry of the Passion: David Jones and The Dream of the Rood”
Robin D’Souza, “From Egalitarian to Sacramental Community: Re-writing William Morris’s Social Romance in David Jones’s In Parenthesis”
Daniel Gustafsson, “The Making and Unmaking of History: Secular and Sacramental Approaches”
Jean Ward, “The Poet as ‘Rememberer’: Anamnesis in David Jones’s Language”
Paul Robichaud, “David Jones and the Archipelagic Past”
Thomas Berenato, “David Jones and the Ancient Mariner: A History of Forgiveness”
Elizabeth Powell, “The Quest for Sacrament in David Jones’s Poem, ‘A, a, a, DOMINE DEUS’”
Mini-forum, edited by L. M. Kilbride
L. M. Kilbride, “Introduction on Logos”
Catherine Pickstock, "What Does Othering Make? David Jones’s “A, a, a, Domine Deus”
Romana Huk, "Sacrament as ars in the down-to-earth poetics of David Jones (pursued through a reading of his art[e]-poetica, “A, a, a, Domine Deus”)"
For more information about the journal, see: religionandlit.nd.edu
Very pleased to share this beautiful composition of Owain Park, performed by his ensemble, the Gesualdo Six, in a new video made by Owain. This piece originally featured in the 2016 musical sequence on In Parenthesis (DAVID JONES: July 1916, The Battle of Mametz Wood from In Parenthesis) performed on several occasions in 2015 and 2016, including at the "David Jones: Dialogues with the Past" conference from July, 2016 (www.davidjonesdialogues.com/events.html).
It makes many of the musical allusions of the work come alive, while also being deeply sensitive to the musicality of Jones' own language. It is a testament to how much Jones' work provides inspiration for other artists (of many media), which is one of the most important dimensions of his work.
You can view the video featuring the piece here: www.youtube.com/watch?v=o_bXw1873jg&feature=youtu.be
Read more about the "WWI Filming Project" of the Gesualdo Six, here: www.thegesualdosix.co.uk/ww1-filming-project/
For more info and booking, see: www.ditchlingmuseumartcraft.org.uk/product/world-war-1-poetry-agenda-magazine/
Exhibition on now: "Changing Lives: Ditchling Artists in WWI",
20 October 2018 - 28 April 2019,
Ditchling Museum of Art + Craft, Lodge Hill Lane, Ditchling, East Sussex, BN6 8SP.
From the website: 'Accompanying Max Gill: Wonderground Man, the museum’s Print Gallery will host a display looking at the affect of WW1 on Ditchling’s artistic community. When Max Gill was appointed by the Imperial War Graves Commission to design the lettering on the Cenotaph and every military headstone, he was well aware of the impact that the war had on friends, the artistic community, and even his own family.
The exhibition tells the personal stories of three artist-soldiers: stonecutter Joseph Cribb, who worked with Max Gill on the design of the allied war graves; painter Louis Ginnett, whose experience is conveyed in his watercolours and in a series of letters to his family back home in Ditchling; and painter and poet David Jones, who vividly recorded a life in the trenches that was to affect his work for many years to come.
On the home front, the war years were a time of change for many of the artists. Hilary Pepler, who had started his printing business St. Dominic’s Press in Hammersmith, moved it down to Ditchling in 1915. The press’s wartime output reveals details of exhibitions held, including art sold to fundraise for refugees. Other artists who set up their studios in Ditchling included the weaver Ethel Mairet and her husband Philip, a conscientious objector who was sent to jail, and the painter Frank Brangwyn, who designed posters and stamps to aid the war effort.'
The latest special issue of Agenda poetry magazine (vol. 52, nos. 1-2), titled simply 1918, features two articles on David Jones:
Hilary Davies, 'David Jones: like no one but himself', pp.36 - 43.
Paul Robichaud, 'David Jones and Edward Thomas', pp.44 - 51.
See the website for more information: www.agendapoetry.co.uk
David Jones' boxwood crucifix (made c. 1925 during the time of his apprenticeship in Ditchling), is on auction at Christie's -- closing 20 November.
Just a reminder that there will be a walking tour and visit to David Jones's grave in Brockley and Ladywell cemetery (London) this coming Saturday, 3rd November, at 3:30 following the annual meeting of the R.S. Thomas Society. For more information contact Anne Price-Owen at: firstname.lastname@example.org
David Jones' Grave, Brockley and Ladywell Cemetery, London.