Book Reviews

Every Friday, on the Spectator Book Blog, we’ll be publishing the latest Bookends column from the magazine. For those who haven’t come across the column before, it’s a 250-word review of a recent book – somewhat shorter than the rest of the reviews in the print edition – and well-suited to the blog format. Anyway, here’s the latest: Flesh and blood Flesh. Lots of flesh. That was the simple promise of a Hammer horror film. In this collection of classic Hammer posters (The Art of Hammer by Marcus Hearn, Titan, £24.99) we have cleavages, writhing torsos and shining thighs aplenty. But it’s not just that kind of flesh. Over most

It hardly feels like 50 years ago that Audrey Hepburn’s Holly Golightly tripped her way into cinematic folklore on her journey to become a timeless icon. In her little Givenchy black dress and long cigarette holder, Holly has endured dramatically and improbably. But then, the Holly Golightly’s of this world are improbable girls to begin with. In this good-looking coffee table book, written in association with Paramount Pictures and the Audrey Hepburn Estate, Sarah Gristwood tells the often fascinating, turbulent back-story of how Truman Capote’s controversial 1958 novella of the same name about a hooker heroine was bought for a ‘then-princely’ $65,000, by Paramount and Capote’s Holly, a poor and

I haven’t read Jonathan Franzen’s Freedom, for lack of opportunity rather than lack of will. However, the loud critical response has not escaped me. How could it? The Corrections and Freedom have both been crowned with the thorns of being a ‘Great American Novel’; and he is the celebrated author of the moment, gracing the cover of Time Magazine and making regular though unseen appearances in the latest series of Gossip Girl no less. Critics are unanimous: Freedom is ‘very good in parts’ – a green-eyed euphemism for ‘bloody brilliant’. But when it comes to Franzen himself, the man divides the sexes in America, vehemently so. Mild in her tone,

Ageing roué Michel Houellebecq, the Serge Gainsbourg of the literary world, has won France’s most prestigious literary prize for his latest novel, La Carte et le Territoire (The Map and the Territory). Not before time, his supporters will say. But, then again, Houellebecq has long polarised opinion, and Les Cartes et le Territoire – featuring a foul-smelling, alcoholic, atrociously dressed writer called Michel Houellebecq, who is murdered in brutal fashion – promises to entrench that reputation. He was interviewed by the Paris Review last month. He discussed his literary influences, his upbringing in France and Algeria, his avant garde family life, the art of fiction, sex and love in a

There are few heretics before the Church of Ian McEwan, but Thomas Jones’ uses his review of Solar in the London Review of Books to make two points. Monomania is a feature of English writing – think motherhood to Mrs Bennett, hypochondria to Mr Wodehouse or climate change to James Delingpole. McEwan is unusual in that many of his protagonists are monomaniacs. Jones argues that this robs them of their humanity. Henry Perowne, the neurosurgeon in Saturday, is an extreme example. He perceives everything from the perspective of his profession. Occasionally that drives the plot – notably when confronted by a threatening and neurologically unhinged man in the street –