It is a strange paradox of our egalitarian age that a progressive publisher like Penguin should commission — at considerable expense, since the series editor Simon Winder has netted some top academic authors — brief lives of all 44 English, and later British, monarchs, from Athelstan to his distant descendent, our own Queen Elizabeth. The
1. Life of Pi by Yann Martel (2002) 2. Amsterdam by Ian McEwan (1998) 3. The Sea, The Sea by Iris Murdoch (1978) 4. The English Patient by Michael Ondaatje (1992) 5. Heat and Dust by Ruth Prawer Jhabvala (1975) 6. The White Tiger by Aravind Adiga (2008) 7. Midnight’s Children by Salman Rushdie (1981)
In 1960 John Steinbeck set off with his poodle Charley to drive around the United States in a truck equipped with a bed, a desk, a stove and a fridge. To renew his acquaintance with that ‘monster of a land’, he planned to cross the northern states from the east coast to the west, then
For those of you who haven’t had the pleasure, Mark Steyn is sort of a hairy, successful version of me— a civilised, larky type of chap who was just tootling along minding his own biz and scribbling about his favourite show-tunes when — crash, bang, wallop! — he found himself on the frontline of commentating
In December 1817 Benjamin Robert Haydon — vivid diarist and painter of huge but inferior canvases of historic events — held a Sunday luncheon to which he invited John Keats, Charles Lamb and William Wordsworth. Nearly a century later, in January 1914, seven poets and Lord Osborne de Vere Beauclerk met in Sussex to eat
Although entitled Infidelities this collection of short stories could as well be called Choices, because that is what really preoccupies Kirsty Gunn’s characters. Divided into three sections, ‘Going Out’, ‘Staying Out’ and ‘Never Coming Home’, the stories are more linked by style and writing than by any theme. Gunn’s style is clear, unaffected and poetic
The American comic novel is going through an odd phase. Just lately it seems like anything funny must sneak in behind an abstruse metafictional edifice, deployed, I suspect, by insecure authors who want to retain their jobs as teachers of creative writing. 10:04, Ben Lerner’s lopsided but often electric second novel, is the latest example
