Travel

In 1969 the body of an ape-like creature, preserved in ice inside an insulated box, came to light in Minnesota. Its provenance was unclear, but the rumour went round that it was a Bigfoot, the North American equivalent of the Himalayan yeti. After two days peering through the box’s glass cover, the Belgian zoologist Bernard Heuvelmans convinced himself that the rumour was correct. His description of the Minnesota Iceman was published in the Bulletin of the Royal Belgian Institute of Natural Sciences. It included the detail that ‘when erect, the penis would certainly not have been particularly striking in its dimensions’. As if this wasn’t bad enough for the poor

Here’s a treat for desert lovers. William Atkins, author of the widely admired book The Moor, has wisely exchanged the dank, wind-lashed chill of Britain’s moorland for eight of the world’s fieriest deserts, from the Empty Quarter of Oman and Egypt’s Eastern Desert to the Taklamakan in China and an unlikely stint at Burning Man in America’s Black Rock Desert. It’s not entirely clear what prompted these particular journeys or this specific quest. We learn in the second sentence that a long-standing girlfriend has gone to live and work abroad and Atkins is not going with her; so perhaps a retreat into the desert is the wholly appropriate response in

Few writers seem less deserving of resuscitation than Henry Miller. When the Scottish poet and novelist John Burnside was asked to contribute the latest volume of Princeton’s ‘Writers on Writers’ series, he planned to choose Marianne Moore, a clearer influence on his poetry. Miller was too messy. A non-conformist and autodidact, his most famous novel, Tropic of Cancer, opened the door to literary obscenity, and also gave him the reputation of a pornographer. Burnside admits that he wrote the book less from a conscious decision than ‘out of need’. To his credit, he does not skirt Miller’s notoriety, nor does he deny that much of his subject’s erotic writing is

Edward Lear liked to tell the story of how he was once sitting in a railway carriage with two women who were reading aloud to children from his Book of Nonsense. When a male passenger confidently asserted that ‘There is no such person as Edward Lear’, the writer was obliged to prove his own existence as ‘the painter & author’ (in that order) by showing the passengers his name on his hat, handkerchief and visiting card. In an extraordinary drawing of this event, Lear depicted himself and the two women realistically, but the doubting man is a cartoonish figure straight out of one of his limericks. Lear’s two worlds of

Driving across Japan’s Shikuko island, the food and travel writer Michael Booth pulls into a filling station to find, alongside the fizzy drinks and chewing gum, ‘vacuum-packed octopus beaks’. Who could resist? Not Booth. ‘Very crunchy,’ he reports. ‘And not in a good way.’ Booth is drawn to the offbeat, and The Meaning of Rice gives us a banquet of the unfamiliar: seaweed caviar, live squid sashimi, sea-urchin tongues, snake soup, bonito guts, silkworm pupae, and more, with all their smells, flavours and textures. I recall my disconcerting first meal in a traditional ryokan: pink wafers of raw horsemeat, boiled firefly squid and dark, gleaming eel. It was delicious; Booth

Every so often a monster comes along. Here’s one — but a monster of fact not fiction, over 700 pages recounting the French expedition from Dakar to Djibouti 1931–33. It doesn’t matter that this travel diary — part field study, part confessional, first published in 1934 — has arrived so late for an English readership. It comes with the additional resonance of a lost world. Michel Leiris was an exceptional man, a Parisian surrealist writer and protégé of Max Jacob. He was also close to Picasso, with whom he shared an interest in primitive art, shamanism and Mithraism; and he married a girl who was the illegitimate daughter of the

Olga Tokarczuk examines questions of travel in our increasingly interconnected and fast-moving world. The award-winning Polish writer channels her wanderlust into reflections upon the places she visits, sometimes in a handful of lines, sometimes in longer chapters, telling other people’s and her own stories. Her prose, however, is anything but conventional travel writing, and she is the first to point out the danger she would be in otherwise: ‘Describing something is like using it — it destroys.’ Trained as a psychologist, Tokarczuk is interested in what connects the human soul and body. It is a leitmotif that, despite the apparent lack of a single plot, tightly weaves the text’s different