Writing in the interwar gloom of the late 1930s, Cyril Connolly warned that “there is no more sombre enemy of good art than the pram in the hall.” It was a catchy encapsulation of an idea with ancient roots, that “good art” calls for monastic devotion and insulation from the trivial worries of the world and the flesh. Young children, however, are all flesh, demanding their own abundant measures of, Read More
