The English cannot be understood without some appreciation of their attachment to their games, and yet this is an area of their story often overlooked by historians. Or perhaps it is simply considered beneath their interest. This is the central message of Robert Colls’s superb account of England viewed through the medium of its sports
Faber must take a rather dim view of British readers’ historical awareness these days. This is a biography of one of the greatest Ottoman sultans in the empire’s 600-year history, yet the publishers cannot bring themselves to mention his name in the book’s title. Perhaps they thought Selim I was too obscure, and maybe they’re
There is an old Yorkshire tale about a prosperous town which, legend has it, once stood on the site of Lake Semerwater. A beggar comes looking for alms but is turned away by everyone, save for a poor couple. As he is leaving, he curses the proud townspeople and water rises up and floods their
In the Covid-19 crisis the calamity-howlers have found a vindication: go back to survival mode and bunker down because nobody believed Noah until it was way too late. Bunker: Building for the End Times, a hybrid of reportage and philosophical musing, considers contemporary survivalist culture in all its manifest craziness, from the doomsday realtors who
I met Jane Birkin’s parents, who flit across these pages. Her mother, Judy Campbell, was an actress in Noël Coward plays and a cabaret singer who’d worked with Charles Hawtrey, and when I invited her to a party once she drove her Mini up the steps and into the hotel lobby. Jane’s father, David, had
Lissa Evans has been single-handedly rescuing the Hampstead novel from its reputation of being preoccupied by pretension and middle-class morality. Her original black comedy (Crooked Heart) concerned Vee, a middle-aged suburban scammer, and the prodigiously bright but orphaned Noel, who join forces in north London’s urban village during the second world war. Evans then went
There’s a scene early on in A Song to Remember — Charles Vidor’s clunky Technicolor film of 1945 — in which the young Frédéric Chopin (Cornel Wilde) provides background music for a banquet hosted by Count Wyszynska in his Warsaw palace, plates of rubbery pig and candy-coloured vegetables in heady supply. Chopin plays his own
