Christopher Neves classic book is a journey into the imagination through the English landscape. How is it that artists, by thinking in paint, have come to regard the landscape as representing states of mind? Painting, says Neve, is a process of finding out, and landscape can be its thesis. What he is writing is not precisely art history: it is about pictures, about landscape and about thought. Over the years, he was able to have discussions with many of the thirty or so artists he focuses on, the inspiration for the book having come from his talks with Ben Nicholson; and he has immersed himself in their work, their countryside, their ideas. Because he is a painter himself, and an expert on 20th-century art, Neve is well equipped for such a journey. Few writers have conveyed more vividly the mixture of motives, emotions, unconscious forces and contradictions which culminate in the creative act of painting. Each of the thirteen chapters has a theme and explores its significance for one or more of the artists. The problem of time, for instance, is considered in relation to Paul Nash, God in relation to David Jones, music to Ivon Hitchens, hysteria to Edward Burra, abstraction to Ben Nicholson, the spirit in the mass to David Bomberg. There are also chapters about painters ideas on specific types of country: about Eric Ravilious and the chalk landscape, Joan Eardley and the sea, and Cedric Morris and the garden.

The unruly Brahmaputra has always been an agent in shaping both the landscape of its valley and the livelihoods of its inhabitants. But how much do we know of this river’s rich past? Historian Arupjyoti Saikia’s biography of the Brahmaputra reimagines the layered history of Assam with the unquiet river at the centre. The book combines a range of disciplinary scholarship to unravel the geological forces as well as human endeavour which have shaped the river into what it is today. Wonderfully illuminated with archival detail and interwoven with narratives and striking connections, the book allows the reader to imagine the Brahmaputra’s course in history. This evocative and compelling book will be interesting reading for anyone trying to understand the past and the present of a river confronted by the twenty-first century’s ambitious infrastructural designs to further re-engineer the river and its landscape.

A hauntingly beautiful diptych of works inspired by Robert Macfarlane’s travels with celebrated collaborators to two eerie corners of England. In Holloway, "a perfect miniature prose-poem" (William Dalrymple), Macfarlane, artist Stanley Donwood, and writer Dan Richards travel to Dorset, near the south coast of England, to explore a famed "hollowed way"—a path used by walkers and riders for so many centuries that it has become worn far down into the soft golden bedrock of the region. In Ness, "a triumphant libretto of mythic modernism for our poisoned age" (Max Porter), Macfarlane and Donwood create a modern myth about Orford Ness, the ten-mile-long shingle spit that lies off the coast of East Anglia, which the British government used for decades to conduct secret weapons tests.

Hannah Harrison escapes her stalled life in Cape Town for a small-town bookshop in the Free State. A concentration-camp journal from the South African War, found in a dusty box of old stock, reveals the life of Rachel Badenhorst, a young girl separated from her family and enduring the crushing hardship of war. Hannah becomes obsessed with finding out what happened to Rachel. Coveting the young girl’s courage and endurance, she is compelled to uncover Rachel’s story, never thinking it will lead her to pick open the wounds of a local farmer and dig up old tragedies, unearthing grief that even the land has held on to for over a century.

This book reveals a thread of unsettling takes on the British landscape stretching from paintings, prints and photographs made by Paul Nash in the aftermath of the First World War to contemporary artists exploring themes of memory, belonging, hauntology, dislocation and human impact on nature. In his introductory essay Robert Macfarlane explains that the eerie, involves that form of fear which is felt first as unease then as dread, and it tends to be incited by glimpses and tremors rather than outright attack. Horror specialises in confrontation and aggression; the eerie in intimation and intimidation.? Macfarlane suggests that eerie art has often flourished at times of crisis, as seen in the work of Neo-Romantic artists around the time of the Second World War. The works featured in the exhibition are grouped around four overlapping themes: Ancient Landscapes? features that are inexplicable and mysterious, connecting us to the unknown distant past; Unquiet Nature ? landscapes and natural forms used to unsettling effect, such as trees, lonely expanses of heath and the borderlands where different worlds meet; Absence/Presence, how the inclusion (and absence) of figures and objects can generate feelings of the eerie through mystery, suggestion and isolation; Atmospheric Effect ? the influence of weather, season, light and the time of day on responses to landscape. Exhibition: St Barbe Museum and Art Gallery, New St, Lymington, UK (11.09.2021-08.01.2022).

Laing juxtaposes diverse elements to engage with the complex natural, cultural and historical contexts of locations throughout Australia, encompassing a decade of practice with a focus on recent major series, plus key contextual works from the late 1990s, and features a new series of work produced last year in South Australia.