iScot reproduced for its soon-to-be traumatised readership Rubens’ 1635 ‘the Three Graces,’ complete with the photoshopped heads of our Tory troika - all wearing unionist micro bikinis.
It is an important image. This is a social history that must be remembered and taught. These “beaming boys” and what they evoke and represent are integral to our national story. My gripe, if that is what it is, is not with David Peat and his photographic journalism of this Glasgow in the late 1960s.
Loach has rammed a wedge into the great divide of the cinema-going public; with the right writing the film off as an exaggeration, and the left gushing like loved-up teenagers.
Love is our bliss, a scent of the warmth and welcome of eternity captured in a look or a glance. Love is seeing the other as the perfection they are and knowing that all the world was made for them, and that every colour would lose its brightness without them.
A century later, in Austerity Ireland, the image of the surrender has been adopted as a symbol of the struggle against a new type of national oppression – corporate imperialism. At some point over the past week a piece of Banksy-'esque' street art tagged to suggest it was the work of Banksy (which the real Banksy has denied), featuring Pearse surrendering to property developers, appeared on Moore Street.
Our innate religious imagination is one of the many psychological bi-products of our human intelligence which assists us as we try to make sense of our reality. In this respect it has much in common with language.
Perhaps it would be easier to see this vicious woman as Hungary’s answer to England’s Katie Hopkins, but even in the United Kingdom there are few people who would be willing to give public violent expression to their racism and xenophobia without fear of arrest.
As Ireland turns once more out of summer and into autumn the nights are creeping forward, and so tonight it is only fitting that my pick of the week should be on the theme of night.