Logan is a radical – I mean RADICAL – writer whose influence on an art critic who happens to be an acquaintance of his – one Martin Thurber – is more than one might expect for two such different characters, and the consequences of it are certainly not to the tastes of Thurber’s publishers! But it has a peculiar and ultimately salutary effect on his personal relations with a certain Greta Ryan, who also figures prominently in this most comic of John O’Loughlin’s loose trilogy of novels revolving around the theme of modern – and particularly abstract – art, ‘modern art’ for Logan being virtually synonymous with ‘abstract’, or the triumph of psyche over soma, rather than with any degenerate representational art. The cover, we trust, is appropriately abstract.
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