Allison Smith

It has been five years since Darcy halted the elopement of his two closest friends. Consequently to avoid the scandal the Bennet family leave Derbyshire and move to Longbourn. But then Wickham and Darcy arrive in the area.
An enjoyable read, generally well-written, (with a few errors) especially as this is the first book by the author in the P&P variation. Certainly a different concept from canon. I did wonder though how they acquired Longbourn, and it was still entailed away. This was not explained.
Received an Advanced Reader Copy from the author… (lisätietoja)

In this P&P variation Charles Bingley is married to Jane Bennet, and over time he and Jane have told Mr Darcy and Elizabeth Bennet about each other. So when the Bingleys arrange a ball, Elizabeth and Darcy are both eager to meet.
Obstacles to their happy ending include Mrs Bennet, and Darcys’ concern that Elizabeth might be a fortune hunter, but he thinks if she was, would it really matter as there would seem to be a connection between them. A connection which Elizabeth is constantly fighting.
Elizabeth meanwhile is envious of Jane’s happiness, and is herself lonely, but unfortunately overhears Darcy talking about her.
Though there still is Caroline Bingley hounding Darcy and her very harsh views of the Bennet daughters.
A quick read, though I found Elizabeth to be stubborn, stupid and frankly unlikeable.

But as you would expect there is a happy ending for this pair… (lisätietoja)

Contemporary artist Allison Smith’s diverse creative practice critically engages with popular forms of historical reenactment through a variety of media, including sculpture, textiles, ceramics, and photography. Focusing on the handmade and performative aspects of history and material culture, Smith restages, refigures, and replays the role of traditional crafts in large-scale installations that reconsider the construction of collective memory and identity.

For the core of Allison Smith: Needle Work, the artist created contemporary revisions of European and American gas masks from World War I and World War II. Smith used art supplies found at local fabric and craft retail stores to explore a range of masklike forms—from the ghoulish to the foolish—thereby questioning essential notions of camouflage and masquerade.


This exhibition catalog, illustrated throughout in color, includes an essay that considers Smith’s project in light of Peter Sloterdijk’s Terror from the Air, as well as in-depth interviews with the artist and the curator.… (lisätietoja)