From the editor
AS you read this I’ll be packing my bags for a holiday in New York — not to make you feel jealous, or anything; just to advise that you’ll get a report or two from that part of the world in future weeks. A relatively recent holiday was spent at home — yes, a staycation, as apparently we must call such things now — and offered me the chance to do something I’ve been thinking about for years: I started watching the US TV series The Wire or, as it is more popularly known, ‘‘the greatest television series ever made’’. As with so much else in the fields of literature, film and TV, I have come to this late: The Wire started its fiveseason run on HBO in the US in 2002 and ended in 2008 (there was a gap between series three and four). In its first years audiences were small enough that the show faced axing (hence the delay in getting series four up) but those in the know adored it. I’d always known that fact without knowing why; now, via the box-set, I do know. The Wire is set in Baltimore and essentially focuses on its underclass and the city’s drug trade, in each series tackling it from a different angle. The characters are drawn with astonishing honesty and their lives have a rich quality one can only call Shakespearean. It is soul-stirringly, bone-shakingly good, and deserves every accolade. On another small-screen subject, you may like to catch the Australian Ballet’s recent Infinity triple bill on pay-TV arts channel Studio on Monday. This is not entirely a non sequitur. One of the works is Stephen Page’s Warumuk: In the Dark Night, which opens in New York on Tuesday — where I will be, as I may have mentioned — as part of the AB’s 50th birthday tour to the Big Apple. The company hasn’t been there since 1999, so may it break many legs.