A selection of diary entries and autobiographical sections, largely centred around Jarman's shift into film making. The book opens with his attempts to get Caravaggio onto the screen in the early Eighties and moves back and forth in time from there, to his childhood and back. It is interesting to see his development from being a painter at The Slade, to creating film and opera sets and eventually creating his own films and taking up painting again. I love Jarman and for me, his words are as much art as any painting or film he ever made. He had a unique way of seeing the world and an innate facility to communicate it to others, no matter what medium he chose to work in. Entwined in his work practice are his loves and passions, both for people and ideas, that sustained him throughout his life. His account of the gay club scene at the end of the book, casually mentions AIDS and the lines: 'I decide I'm in the firing-line and make an adjustment - prepare myself for the worst - decide on caution rather than celibacy, and worry a little about my friends.' is a devastating nod to the fate that awaited him.