Settling old scores | 10 December 2011
As a boy, Brian Sewell was unimpressed by opera but enraptured by pantomime which, he reveals in Outsider, sowed in him ‘an undying ambition, never fulfilled, to play the Widow Twanky in Aladdin’. Panto’s loss has been art criticism’s gain for, his tremendous erudition and exquisite prose aside, Sewell is surely the funniest art critic of our time, and easily the campest. In his ‘Prelude’ he remarks that he has ‘dug deep into indiscretion’, and ‘some may say that I have dug deeper still into prurience’. They would have a point. The first chapter, which is about his mother, or ‘principal demon’, sets the tone. She ‘had, I think, as