Book Reviews

Our reviews of the latest in literature

Wednesday

Sam Leith Sam Leith

Laura Thompson: Life in a Cold Climate

39 min listen

This week’s Book Club podcast celebrates the 75th anniversary of the publication of Nancy Mitford’s breakthrough novel The Pursuit of Love. Laura Thompson, author of the biography Life In A Cold Climate, joins me to talk about the way the book was written, how it helped create the Mitford myth – and how it shaped an enduringly ambivalent story of familial happiness and ‘true love’ from the sometimes heartrending materials of the author’s own life.

Thursday

Lara Prendergast Lara Prendergast

The Christmas Special

49 min listen

How will the UK’s economy recover from Covid-19, and what has the pandemic revealed about the West? (01:20) Was 2020 the year we dealt a mortal blow to future viruses? (15:05) And finally, what makes Mary Gaitskill a brilliant writer, and why does Elif Shafak work to heavy metal music? (29:25) With The Spectator‘s political editor James Forsyth, deputy political editor Katy Balls, writer and biologist Matt Ridley, behavioural psychologist Dr Stuart Ritchie, The Spectator‘s literary editor Sam Leith and writer Elif Shafak. Presented by Lara Prendergast. Produced by Max Jeffery and Sam Russell.

William Hague

Will we soon see the end of conservatism as we know it?

For some years I chaired the international alliance of centre right and conservative parties, the International Democrat Union. It is an organisation that illustrates the difficulty of defining and categorising right-wing political movements: it is called ‘democrat’, but includes the American Republicans, boasts the Australian Liberals among its avowedly conservative members and includes Christian Democrats, Independence parties, National parties, People’s parties and even one United Workers Party. This variety is more than a matter of nomenclature. What these parties have in common is that they are the main rivals in each of their countries to a party of the left. They are defined more by a shared enemy than having

Sarah Sands

Barbara Amiel is a cross between Medusa and Maria Callas

If this book becomes a Netflix blockbuster, as it surely must, Barbara Amiel presents us with an opening image. She describes, during a visit to see her husband Conrad Black in prison, watching a Monarch butterfly rise above roadside debris: You couldn’t miss it in that bright early morning sunscape of trash cans and crumpled paper cups, so intense the colours and so large its wings as it did a parabola over a little triangular patch of wildflowers growing off to the side of the service area at Turkey State on Interstate 95. Let me have a think about whom that might metaphorically represent. We find out later: This book

Rod Liddle Rod Liddle

A conciliatory P.J. O’Rourke is not the satirist we know and love

There was an acidic bravura and beauty in P.J. O’Rourke’s early journalism and a gleefulness in the ease with which it raised ire. Hitherto, satirists — and especially American ones — had tended to come from the left, none more so than O’Rourke’s mentor Hunter S. Thompson, who campaigned long and hard for George McGovern in 1972. Not Patrick Jake. He sprung like a jubilant, potty-mouthed leprechaun from a country which had fallen back in love with itself after the self-flagellating miseries of Vietnam, Watergate and Tehran. Under Ronald Reagan, the economy flourished, the Cold War was won and while the left still carped and cavilled, aghast at the demise

Simon Ings

Christiaan Huygens – hero of time and space

This book, soaked like the Dutch Republic itself ‘in ink and paint’, is enchanting to the point of escapism. The author calls it ‘an interior journey into a world of luxury and leisure’. It is more than that. What he writes of Christiaan Huygens’s milieu is true also of his book: ‘Like a Dutch interior painting, it turns out to contain everything.’ Hugh Aldersey-Williams says that Huygens was the first modern scientist. This is a delicate argument to make: the word ‘scientist’ didn’t enter the English language before 1834. And he’s right to be sparing with such rhetoric, since a little of it goes a very long way. What inadvertent

Julie Burchill Julie Burchill

How we laughed: the golden days of Bananarama

Saying you don’t like Bananarama is like saying you don’t like summer or Marilyn Monroe — a sure sign of a misanthropist who thinks that being a wet blanket makes them interesting. OK, they never had a blazing talent — their three small, sweet pipings barely adding up to one decent voice — but they were one step beyond even the glorious girls of the Human League: Have-a-Go-Heroines dancing round their handbags, a karaoke of themselves. Keren Woodward and Sara Dallin meet at infant school in Bristol. Their roustabout quality is evident when, as pre-teens, they engage in throwing bricks at each other’s ankles in a bid to skive off

Philip Hensher

Labyrinthine tales: We All Hear Stories in the Dark, by Robert Shearman, reviewed

When the estimable Andy Miller, the host of the Backlisted podcast, recommended a new collection of short stories on Twitter, he said just enough about it to pique my interest. Online booksellers didn’t seem to have heard of it and I had to buy it directly from the publisher. I’m very glad I did. Robert Shearman’s We All Hear Stories in the Dark, running to three volumes and 1,750 pages, is the most original and impressive new fiction I’ve read this year. You have to find your own way through it. It takes its form from an outdated but fondly remembered series of paperbacks for children, the Adventures of You,

Paul Kildea

Mozart the infant prodigy was also a child of the Enlightenment

‘My dear young man: don’t take it too hard,’ Joseph II counsels a puppyish Mozart, the colour of his hair unknown in nature. ‘Your work is ingenious. It’s quality work. And there are simply too many notes, that’s all. Just cut a few and it will be perfect.’ ‘Which few did you have in mind, your majesty?’, Mozart enquires, the sinisterly oleaginous F. Murray Abraham as Salieri quietly registering the subtle brilliance of Mozart’s grinning lèse-majesté. Those interested in the subject of Miloš Forman’s 1984 film Amadeus are today faced with a not dissimilar predicament: which of the millions of words written about Mozart should we cut? And would they

Derek Turner

The map as a work of art

’Tis the season of complacency, when we sit in warmth and shiver vicariously with Mary and Joseph out in the snowy wastes, A Christmas Carol or The Snowman. A handsome exploration of Antarctica seems equally appropriate festive fare. Peter Fretwell brings us chillingly close to a continent that has always inspired awe, evidenced by christenings such as Mount Erebus and Fenriskjeften — the Wolf’s Jaw mountains, named after Fenris, the Norse equivalent of the Beast, which will arise at the end of time to eat the world. The coldest, driest, remotest and windiest place on the planet, surrounded by the roughest ocean, has always seemed like somewhere primordial deities might

Jesse Norman

The Enlightenment was a many-splendoured thing

History used to be so much easier. There were the Wars of the Roses, then the Reformation, the Civil War, the Enlightenment and finally the Victorians. Each one had its own century and its distinctive tag. Throw in Henry VIII and Elizabeth I, garnish with a few zealots and adventurers, some glorious triumphs and some grisly deaths. It was all part of our Island Story. You knew where you were. Take the Enlightenment, for example. Everyone knew that this was the Age of Reason: the moment when science finally started to impose order and banish religion. The French rationalists had their heyday, Voltaire, the philosophes and all that, before they

Stuart Kelly

All change: The Arrest, by Jonathan Lethem, reviewed

This is an Exquisite Corpse of a novel — or if you prefer another name for that particular game, Heads, Bodies and Legs, or Combination Man, or perhaps most appositely Consequences. The parlour game involves creating something and then passing along the hidden creation to which another then adds, and The Arrest reads like Jonathan Lethem playing the game against himself. He is a novelist whose work has always experimented with, and evaded, genres. In this one, he is juggling dystopia, Thoreau-like idealism, science fiction, folk horror, sentimentality, revenge plot and quite a lot more. It is also very funny. I did want to say that it is like Cormac

Elif Shafak

What is so special about heavy metal?

Ever since my early youth I have loved, followed and respected a certain music genre that some people consider strange, even dangerous: heavy metal. The journey started in Istanbul, at a small, stuffy music store on a side street in Taksim, nestled between an Ottoman mosque and a fish market, where I would buy cassettes of Iron Maiden, Judas Priest, Led Zeppelin, Megadeth, Twisted Sister, Metallica… and then go home and listen to them endlessly while eating sunflower seeds, because that’s what we Istanbulites do to pass time. Over the years I veered towards less-well-known sub-genres, such as industrial metal, symphonic metal, metalcore, gothic metal, Viking/pagan/Nordic metal; and while the

Tanya Gold Tanya Gold

The only man who didn’t want to be Cary Grant was Cary Grant himself

Cary Grant was a hoax so sublime his creator struggled to escape him. He was a metaphor, too, for the transformative magic of cinema, for its lies; and for the artifice and social mobility of the 20th century itself. His real name was Archie Leach, and he could, the critic David Thomson wrote, ‘be attractive and unattractive simultaneously; there is a light and dark side to him, but whichever is dominant, the other creeps into view’. Thomson thinks Grant the greatest film actor — I did not notice him in his first scene in The Philadelphia Story until he wanted me to notice him — but he was terrified of

Nicola Barker

The End of Times and the coming of the Antichrist

Two things it may be wise to know before picking up this relatively short and surprisingly cheerful brand spanking NEW biography of the Antichrist: (1) the meaning of the word ‘eschatological’ (it’s fairly critical); (2) the fact that the Antichrist is not the devil (a common misapprehension). The Antichrist is actually the son/spawn of the devil, and Philip C. Almond has already provided us with a perfectly serviceable biography of the Prince of Darkness himself (also NEW, even though, um, a few years old now). As a religious/cultural figure the Antichrist was actually a bit of a slow starter. The earliest and most comprehensive text about him, Adso’s A Little

Wednesday

Sam Leith Sam Leith

Nicholas Shakespeare: remembering John Le Carre

36 min listen

In this week’s Book Club podcast, we remember the great John Le Carre. I’m joined by one of the late writer’s longest standing friends, the novelist Nicholas Shakespeare. He tells me about Le Carre’s disdain for – and debt to – Ian Fleming, his intensely secretive and controlling personality, his magnetic charm, his thwarted hopes of the Nobel Prize… and why at the end of his life he acquired an Irish passport.

Thursday

Paul Levy

Unpleasant smells can actually enhance pleasure

Harold McGee’s Nose Dive: A Field Guide to the World’s Smells is an ambitious and enormous work. Indeed it’s so large, at 654 pages and weighing nearly a kilo, that I could only manage to read it at the kitchen table — which made me appreciate its wipe-clean binding. Its distinctive new-book smell (there is such a thing) contrasts mightily with the musty, familiar old-book scent of my study. As I walk through the house, I detect the not entirely agreeable whiff of last night’s wood fire in the sitting-room, but this gives way to the snap-to-attention aroma of just-made coffee, the fragrance of the sliced banana and apple in

Sam Leith Sam Leith

The serious business of graphic novels

One of the running jokes about ‘serious’ graphic novels is that so many seem to consist, one way and another, of comics about how lonely, miserable and socially inept comic book creators are. Adrian Tomine leans into the trend, but with great charm, in The Loneliness of the Long-Distance Cartoonist (Faber, £16.99). Here is an autobiographical anthology of humiliation in chronological order — a series of wan vignettes taking the artist from inadequate-feeling schoolboy comics nerd to… inadequate-feeling New Yorker-published middle-aged comics superstar. Every time he feels he’s arrived, there’s something to remind him he hasn’t: a stinking review; a disobliging comparison to Neil Gaiman or Dan Clowes; Frank Miller

Rupert Shortt

Joseph Ratzinger’s coat of many colours

A common but flawed assumption about Joseph Ratzinger is that he is simply an ardent conservative. That’s the figure we see in Netflix’s The Two Popes. Anthony Hopkins’s performance may be a visual feast, but the script leaves no cliché unaired. Better informed observers note that the Vatican’s former doctrinal guardian is a poacher turned gamekeeper who once supported major reform of the Catholic Church but then performed a somersault, partly because of worry about threats including Marxism and moral relativism. Among the truest verdicts is that he has always been torn between different versions of himself. The cultural warrior who could urge Catholics not to practise yoga and to

Hallie Rubenhold

Transport to Australia was the saving of Carmen Callil’s family

If 2020 has given us something to talk about other than Covid, it’s been history — and, more precisely, to whom history belongs and how we’ve chosen to define it. Well into the modern era, the philosopher Thomas Carlyle’s definition of the subject as ‘the biography of great men’, seems to endure. Most remember their school history lessons as a force-fed diet of monarchs’ names, battles and key dates, or as a narrative about palace-dwelling elites whose experiences seemed utterly removed from reality. It is undoubtedly why the subject in its most uncut Victorian form can seem so unpalatable to the general public. Conversely, it also goes a long way