the costumes, design, music and camerawork steer clear of naturalism, highlighting both the modernity of the approach and the notions of humans as creatures to be observed dispassionately.

Even today, in our comparatively godless world, there is something of a taboo on the dead – we try not to speak ill of them. Together, over a period of several months, they pursue a mutual sexual passion whose inevitable stages unfold in counterpoint to nine live-concert songs. For example, before we get to witness the first seance, there are what feel like chapter and chapter and chapter of background on the characters, much of which I did not retain because I had such a hard time figuring out who is who. it's as all other albums exactly what you can expect by r beny: beautiful ambient music with his unique style and composition.

Byatt brings Arthur Hallam back as a spirit to guide the automatic writing at the séance, and I felt more than a little uncomfortable by the whole idea. Byatt effortlessly exploits the opportunities for pastiche, belletristic flourish and critical commentary.

He spends much of his time with the Alabaster children and Matty, observing an ant colony in the forest, with a view to writing a book.Angels and Insects is at once quirky and deep, and it brims with Byatt's generosity, imagination, and intelligence. They marry, but the marriage, though fertile, rapidly becomes cold, and William becomes increasingly preoccupied by his work, which in turn leads to his bonding with the governess in Eugenia's family, Mattie Crompton, who shares his fascination with the insect world. an experience that is both wistful and soothing, never too dark yet not suited to being described as joyful. And the trouble is that the characters get lost in the elaborate backdrops that Byatt has prepared for them - it's hard to engage with any of them, or to really care about them.