Poverty

In what may be the only joke in this book – it is hard to tell, because quite often reading it I started to believe the whole thing was an elaborate parody – Samuel Miller McDonald begins his acknowledgements by expressing his ‘infinite thanks’ to his editors (he merits six of them) on the grounds that ‘no work can be good without good editors’. Apparently some works can’t be good even with good editors – unless the author is trying to tell us that his, like his oeuvre, weren’t especially good at all. Progress is a prolix, tendentious book, radiating self-regard, arrogance and flannel. One irritation (which became like waiting

Call it a mosaic. Here it all is – the pathos of a botched first date, a birth, a death, a feud, a stumble into love. The Café With No Name deals with the small dramas of everyday life.  The setting is Vienna – not the elegant city of Schönbrunn but the Karmelitermarkt, one of the poorest districts, debris from Allied bombs still filling the basements in 1966. Robert Simon has worked in the market for seven years, shifting crates of swedes, restacking firewood, cleaning the floor at the fishmonger. He enjoys his work, but he’s 31 and restless. He finds himself casting a speculative eye at the café on

Beartooth, the second novel by the Montana-based writer Callan Wink, opens with two brothers elbow-deep in the viscera of the third black bear they have just shot out of season. Hazan’s hands are ‘moving around the hot insides of the animal as if he were rummaging through a junk drawer’. He wants the gallbladder, which will fetch around $1,500 – far more than the brothers get for chopping firewood. The skull, claws and skin will swell their illegal bounty by another $500. Thad and Hazan, aged 27 and 26 respectively, are in serious debt after their father’s recent death, and their roof is leaking. Logging in the Montana backcountry is

Mary Toft seems to be having something of a moment. The English 18th-century peasant who stunned society with her claim to have given birth to rabbits has been the focus of a suite of recent books, including Dexter Palmer’s Mary Toft, or the Rabbit Queen (2019) and Karen Harvey’s The Imposteress Rabbit Breeder (2020). There was even a nod to Toft in the 2018 film The Favourite. Queen Anne, played by Olivia Coleman, had 17 rabbits, one for every child she’d miscarried – a reference to Toft’s 17 ‘miraculous’ rabbit births. It’s not hard to see why Toft’s grotesque story still captivates us. In 1726, a poor young woman in

The Tory era is not (quite) over yet, but already the obituaries are in. In particular, two new books from Torsten Bell and Paul Collier seek to bury not just Rishi Sunak and his cabinet but the whole economic approach that the Conservatives have taken since 2010, or perhaps even 1979. Let’s start with Bell – until very recently head of the Resolution Foundation thinktank, and before that the man who, as Ed Miliband’s policy director, gave us the joy of the EdStone. Great Britain? sets out a comprehensive list of the ways in which we have become a ‘stagnation nation’: low investment, high inequality, insufficient house building, stingy benefits,

‘The Cally’s named after an orphanage for kids from Scotland or some shit. Didn’t we learn that in school?’ So says Big Pharma (real name Devan Swaby), drill rapper from the Cally Active gang – one of the many characters populating Andrew O’Hagan’s vast and riveting Caledonian Road. The novel opens with a 59-strong cast list, representative of contemporary London society. At the heart of this web, spanning aristocracy, gangs and trafficked migrants via an oligarch and the middle-classes, are the celebrity art historian Campbell Flynn and his student and hacker protégé Milo Mangasha. As with the Cally and its links far beyond the capital, so O’Hagan demonstrates that his

If asked to think about food preservation for a moment you might picture an aproned woman boiling oranges for marmalade in a large copper maslin pan; or vegetable scraps being turned into stock; or those recipes from wartime rationing using root veg in place of sugar; or even, with an eye to the modern, you might imagine a trendy chef preparing offal in a gleaming chrome kitchen to ensure the nose-to-tail credentials of his restaurant. Some of the attempts in the past to spin out the life of fresh produce sound positively disgusting But there is more to the history of preservation than preserves, and the obvious enemy, when we

If we are to remember peasants, we need a definition. Here is an imperfect but workable one. A peasant is a person working on the land in return for a bare subsistence. Patrick Joyce’s peasants are smallholders making just enough to feed their families and pay the rent in a normal year. They are people without status, tied to the land even if they are legally free. They occupy the lowest place in society, people with no ambitions and no future, who come into the light of history only when they revolt against their condition, as they frequently do. Historically, there have been peasants who did not fit this mould.

In the middle of the 18th century, on the north side of the Palais Royal gardens in Paris, there stood a magnificent chestnut tree called the Tree of Cracow. In his presidential address to the American Historical Association in 2000, Robert Darnton explained that the name Cracow probably derived from the heated debates that took place in Paris during the War of the Polish Succession, but also from the French verb craquer: to tell dubious stories. News-mongers or nouvellistes de bouche, agents for foreign diplomats and curious members of the public gathered round the tree, which was at the heart of Paris’s news network, a nerve centre for transmitting information,

Meet Ibrahim, from Syria. He fled Aleppo just before the bombs began to fall. A clean $4,000 in cash to a smuggler got him a fake passport and, voilà, a ticket to Europe – briefly in Greece, then in Germany (‘the people, they looked different’), now in Spain. Immigrant life was tough at first: the strange language, the alien norms, the overt racism. ‘He was not on their level. Just a refugee.’ Then a lucky break. He starred in a homemade porn video that went viral: ‘100 per cent real Arab bull.’ Next, he’s earning close to a seven-figure salary, owns a flash car and has women dripping off his

By the time she was 25, the journalist and broadcaster Kieran Yates had lived in almost as many houses. Having rented for more than a decade, I feel her pain. I’ve lived in flats that made me physically unwell (mould has a lot to answer for) and survived housemates whose approach to kitchen hygiene made every day a salmonella minefield. I would visit a former boyfriend whose bedroom was, essentially, a glorified crawl space in a cold artists’ warehouse. He was 6ft 6in and couldn’t even kneel up in it, but, aged 24, I thought it was cool. Now I see it for what it was: an indictment of London’s

Now is a difficult time to empathise with Russians – which is why we need Maxim Osipov. We need him to bring alive to us what it means to live in Putin’s Russia – how the system finds ways to crush all but a very few. Even more, we need him to remind us of the kaleidoscope of qualities that a country like Russia inevitably contains – the humanity and generosity as well as the stupidity and cruelty. An author of great subtlety, Osipov would no doubt wince at such grandiose claims for his writing. Yet when the world is deciding how to deal with the aftermath of Putin’s (eventual,