‘Here is a hot potato,’ The Spectator’s book review editor wrote in a note accompanying this book. Radioactive, actually. In 2006 Chicago professor John Mearsheimer and Harvard’s Stephen Walt posted a version of an article they had written on the Israel lobby for the London Review of Books on a Harvard faculty website. It was
In political journalism, as in warfare, relish is taken in a parade of defectors. Media neocons will therefore cheer the publication of the very personal tale of one Observer journalist’s journey from the dovecote to the hawks’ nest, not least on the issue of global terrorism and fundamentalist Islam. The author — once what he
Worcestershire is England’s most undervalued county. Sauce, Elgar and cricket, not necessarily in that order, are what most people associate with the name. Otherwise it is that place we cross on our way to Herefordshire, its far smarter western neighbour, or the territory glimpsed on either side of the M5 as we whiz northwards to
How do you like a book to be read? There is the way my wife reads to me with her normal, unaccented voice throughout, just as she reads to me from the newspaper, say, letting the words on the page establish in my brain what the author intended — or so we hope. At the
The war in Iraq cast a long shadow over Minette Walters’ previous novel, The Devil’s Feather, and it also plays a part in her new one. Lieutenant Charles Acland suffers horrific head injuries, including the loss of an eye, when he runs into an ambush while leading a convoy on the Basra-Baghdad highway. The two
Footballers’ wives and girlfriends, pop stars’ and politicians’ sons and daughters, are gilded by proximity to the golden ones, often regardless of their own intrinsic talent (or lack of it). It is unusual to find this phenomenon operating upwards through the generations, however. Jennie Churchill, despite her great beauty, charisma, notorious marriages, and reputed 200
Now Saga’s agony aunt, Katharine Whitehorn, has for more than 50 years been a trail-blazer in British journalism. Starting out as a member of the talented writing team on Picture Post, she went on (stopping off only briefly at Woman’s Own) to found the celebrated ‘Roundabout’ column in The Spectator before being scooped up by
Ever since he could read and write John Betjeman felt himself destined to become a poet. Later he wrote, ‘I have always preferred it [poetry], knowing that its composition was my vocation and that anything else I wrote has been primarily a means of earning money in order to write poetry.’ In so doing he
On Capri in 1925 Scott Fitzgerald met his ‘old idol’ Compton Mackenzie and found him ‘cordial, attractive and pleasantly mundane. You get no sense from him that he feels his work has gone to pieces. He’s not pompous about his present output. I think he’s just tired. The war wrecked him as it did Wells
Jonathan Coe’s gloomy new novel will surprise fans of The Rotters’ Club and What a Carve-Up!, but it need not disappoint them. In taking on the voice of Rosamond, an elderly, suicidal lesbian, Coe shows an admirable refusal to be pigeonholed. Like many contemporary novelists (Penelope Lively, Thomas Keneally, Alan Judd), Coe is concerned with
At the beginning, it was rather like a bizarre round of ‘Tinker, Tailor, Soldier, Sailor’. Decca ran away to the Spanish civil war; Unity went to Munich and made friends with Hitler; Diana bolted with the founder of English Fascism and then went to prison; Pamela stayed at home; Debo ended up with Chatsworth; and
On the 9 August 378 AD near Adrianople in Thrace the Roman army of the East was massacred and the Emperor Valens left dead on the battlefield by an army of barbarian Goths. It was, as Alessandro Barbero’s title claims, ‘The Day of the Barbarians’. He gives a highly readable account of the campaign and
Quid have we here? Nihil less than a smart parody of all the usual travel guides and one that manages to sustain its originality by delivering genuine, if often larky or unashamedly salacious, information about ancient Rome in a handy modern format. Provincial visitors, lugging their impedimenta up the Appian Way might have found it
Small Room in a Hotel In this cool cube of marble I am valid but invisible As an image caught in a camera But not yet reproduced. My reappearance from confinement Is that of a lavatory Houdini Except that no one notices And the wonder is reduced to a trickle. How many men have died
Michael Ondaatje’s legion of admirers will not expect a novel constructed around a linear narrative, or even cohering in the developing consciousness of a central character. ‘Everything is collage,’ he tells us in Divisadero, a novel which is perhaps over-full of self-referential pointers. The work, we are led to infer, is like a ‘helicoidal’ spiralling
Richard Russo is one of those writers, and they are many — indeed, they are most — whose work you may have read and enjoyed and yet whose name you may not instantly recognise. These are the stalwarts, the broad-shouldered, able-bodied men and women of literature, the workers, who for some reason lack that instant
War Words I heard the other day of soldiers back from serving in the fighting in Iraq, not wounded bodily but suffering from ‘post-traumatic stress disorder’ — ‘bomb- happy’s’ what they called it in the war on Hitler; ‘shell-shock’ in the one before. And then I thought, Ah yes, I can recall D-Day, June the
Perhaps because he talks so much and has been in politics for so long, Roy Hattersley has the happy knack of making you believe that he was there at the events he describes. And if he wasn’t, he most certainly should have been, to the undeniable advantage of all concerned. For instance, the miners should
This is the ninth and final volume of the sequence, eliding fiction and autobiography, in which Philip Roth’s alter ego Nathan Zuckerman is narrator and protagonist. In the first volume, The Ghost Writer (1979), the still emergent author makes a pilgrimage of homage to a literary veteran, E. I. Lonoff, once highly praised for a
I was once given a poetry lesson by Kingsley Amis during which he said of unintentional rhymes and assonances in blank verse, ‘Never make the reader pause without profit.’ In The Model by Lars Saabye Christensen, the profitless pause count was wearyingly high. On page 3 and 4 the central character, Peter Wihl’s wife, is