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Reviewed by:
  • Derek Jarman by Michael Charlesworth
  • Chloe Benson
Michael Charlesworth . Derek Jarman. Reaktion Books (Critical Lives). London: 2011. Paperback, 208 pages $16.95.

Recognised for his innovative and aesthetically-rich films, Derek Jarman is less often esteemed for his writing, set design, painting, politics, or gardening. Attempting to shed light on these lesser-examined aspects of Jarman's creative talent, Michael Charlesworth's critical biography, Derek Jarman, delivers new insight into the ethics and aesthetics of an influential and multi-talented creative force.

A title in the Critical Lives series, Charlesworth's book presents readers with an account of Jarman's troubled childhood, precociousness in adulthood, illness, and untimely death. The narrative begins in Dungeness where Jarman spent his later years. Charlesworth reveals Jarman's flair for gardening and notes the recurring imagery of gardens in his films, such as Jubilee (1978) and The Garden (1990). Attention then shifts to Jarman's childhood and the text continues on chronologically thereafter. Unlike Tony Peake's lengthy Derek Jarman: A Biography, Charlesworth's effort is not intricately detailed. Instead, it succinctly guides readers through key moments of Jarman's life and multifaceted career. While this is carried out in an orthodox biographical style informed by chronology, works, and events, Charlesworth also engages readers on a more sophisticated, critical level. In addition to elucidating 'Derek', the man, he examines the aesthetic and conceptual links between Jarman's various pursuits and his personal life. He is conscious of the "many paths, and many destinations" that shaped Jarman's work. Thus, the book treats Jarman's ideas regarding sexuality, his political activity, his anxiety about capitalism and patterns of cultural production, and considers their expression, or fruition, in his books, paintings and films. Charlesworth's critical analysis of Jarman's work and ability to identify its aesthetic and conceptual commonalities bring the book a great richness.

Although Charlesworth acknowledges the detailed biographies of Jarman already in existence, he notes that some of Jarman's various pursuits have received a relative lack of critical attention. This awareness pervades the book; hence Charlesworth avoids the pitfall of presenting Jarman as just an activist or just a filmmaker. The Jarman we are introduced to in Charlesworth's book is recognised in equal parts for his poetry, writing, set design, painting, filmmaking, gardening, activism, and lifestyle. Moreover, Charlesworth sets out to ascertain whether "[Jarman's] varied activities [can] be conceptually or aesthetically linked." Concluding that they can, he underlines the commonalities and complementary nature of Jarman's creative pursuits, rather than simply delineating them via anecdotes or facts. Considering Jarman's eclectic garden, for instance, a multifarious collection of "sea kale... twisted metal rods...old fishing net floats...rusting garden tools... [and] old roses," Charlesworth places this varied collection of objects and flora in the context of the plea Jarman presents in Jubilee that we "Consider the world's diversity and worship it." In both cases, Jarman sees merit in heterogeneity and celebrates it with an aesthetic cohesion, a beauty. Charlesworth further highlights this knack whilst discussing In the Shadow of the Sun (1980), a work that features two of Jarman's earlier films superimposed onto a postcard. Charlesworth notes the dynamism of the films and the manner by which they exemplify Jarman the painter's "enquiring sensibility." [End Page 86] Even those familiar with Jarman's work are likely to find new insight in Charlesworth's multi-layered analysis.

The text is also accessible to those lacking familiarity with Jarman. Charlesworth offers insightful critical analysis while avoiding an abundance of technical terminology or jargon. Students and scholars alike will find the text clear and insightful, concise and comprehensible. It is worth noting, too, that Charlesworth contextualises Jarman's work well, making it an appealing read for anyone with an interest in British art and culture of the 70s and 80s, film history, or queer activism.

While this biography will not wholly satiate the appetite of Jarman scholars, it should whet the palate of those looking for an introduction to Jarman. Aside from offering a perhaps too brief account of Jarman's life and work, there really isn't much else to fault about this biography. Although it...

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