Hiroshima

Ettore Majorana vanished in March 1938. According to Frank Close in Destroyer of Worlds, the 31-year-old Sicilian physicist ‘probably understood more nuclear physics theory than anyone in the world’, and was hailed by Enrico Fermi as a ‘magician’, in the elevated company of Newton and Galileo. Majorana was also an ardent fascist; yet he was haunted by the destructive potential of his work on mapping the nucleus. His disappearance – perhaps a suicide; more likely a new, incognito life in South America – has been related to an anguished remark he made to a colleague: ‘Physics has taken a bad turn. We have all taken a bad turn.’ Majorana is

At 8.15 a.m. on 6 August 1945, a B-29 bomber called Enola Gay dropped ‘Little Boy’ over Hiroshima. The thermal radiation from the atom bomb was 900 times more searing than the sun. An estimated 118,661 civilians died, horribly. Survivors staggered about with their skin in shreds, their intestines hanging out and their blacked and bleeding faces grotesquely disfigured. Upon hearing the news, President Harry Truman called the bombing ‘the greatest thing in history’. Why the US unleashed the terrible bombs over Hiroshima, and three days later over Nagasaki, has been much debated ever since. In his excellent short book on the subject, Richard Overy writes: The question asked is

In Lore Segal’s An Absence of Cousins, Nat Cohn, a fellow at the Concordance Institute, a small college in Connecticut, browses through a children’s novel during a staff meeting and exclaims: ‘We don’t write stories like this any more. Chronic plot deficiency is our problem.’ The problem for contemporary novelists is that tightly woven plots of cause and effect belie the way their readers experience the world. Like her compatriot Elizabeth Strout in Olive Kitteridge and Olive Again, Segal addresses it by featuring a single protagonist, Ilka Weisz, a young Austrian émigrée, and various recurring subsidiary characters, in a series of closely interlinked stories. Many of these first appeared in

‘Is it because we see our world only darkly that we surround ourselves with lies we call time, history, reality, memory, detail, facts?’ Richard Flanagan’s memoir opens at the Ohama coal mine in Japan, once home to his father and a host of other POW slave labourers. It then spirals outwards via his childhood (in a remote Tasmanian settlement), his much-put-upon mother (who hoped Richard would become a plumber), his semi-present, kindly, traumatised father Archie (enshrined in The Narrow Road to the Deep North) and on through all the now-familiar Flanagan themes. These include the horror of drowning; the Dickensian characters of 19th-century Van Diemen’s Land; the mighty Huon pine;

No one ever raised a statue to a translator, disgruntled adepts of that art sometimes complain. I beg to differ, since I’ve seen one: the handsome monument to the 12th-century scholar-physician Judah ibn Tibbon, ‘patriarch of translators’, beneath the Alhambra in Granada. But if the brokers between languages and cultures still lack many bronze or marble tributes, the books that celebrate their calling have begun to pile higher. A few of them retaliate against the downgrading of translation skills with a mystagogic tone which repels curious civilians. Which makes Anna Aslanyan’s wide-angled and reader-friendly tour of her profession’s many roles, in literature, politics, law, diplomacy, business and data science, all