Sinéad Gleeson

You have Jennifer Higgy writing about this.

You have Frances Burzello, who's written about female portraiture.

There's been loads of books that are literally books just going, we're not going to put any men in these books.

And I think Linda kind of started that conversation 50 years ago at a time when, you know, people like Judy Chicago and all these other feminist artists would have been around.

Yeah, it's a super book and I'm glad to see it's been reissued because it can be hard to find.

It took me a while to track it down.

I bought it secondhand.

It has a touch of the Pender's Fen.

Do you remember Pender's Fen?

It does.

All of that.

It does indeed.

I have.

I used to be, I was a music journalist a long time ago and I went to London.

I thought it was White Chalk.

It was actually Let England Shake.

And when I think about it and this book, I think there are definite parallels between Let England Shake and the landscape and blood and even the bit you read, John, is very visceral and gutsy and bloody and all of those things.

And I think that I remember reading nearly every album she would go back and learn a new instrument.

So I think she learned how to play like an auto harp.

And then I remember reading, this is obviously predates this book, where she had gone to do a local course down the road in Dorset to learn about iambic pentameter because she wanted to write poetry.