Travel

Geoff Nicholson is the Maharajah of Melancholy. The quality was there in his novels, it was there in his non-fiction book The Lost Art of Walking, and it’s there in the latter’s successor, Walking in Ruins (Harbour Books, £12.50). He savours the comfort to be gained from accepting decay as an inevitable part of life. Ruins are his muse. So he spends the book doing exactly what its title suggests. Locations include an abandoned Los Angeles zoo, now inhabited by two homeless men, a Sheffield housing estate whose road layout survives even though its houses don’t, and a desert town that’s been, er, deserted. Nicholson keeps finding shoes there, though

Clichés and travel writing, sadly, often go hand in hand. I look after the travel pages at the Daily Mail and have felt compelled to compile a list of banned words and phrases for writers. The list gets longer by the week. Because the Spectator’s Shiva Naipaul Memorial Prize for travel writing is underway, I thought I’d pull out my list again. Here are just a few of the offending words and phrases on it. I’m sure you can think of more. city of contrasts breathtaking jaw-dropping leaving the modern world behind chilled out pampering nothing but the sound of waves bygone era stunning (includes ‘simply stunning’) nightmare (includes ‘complete nightmare’, ‘total

No, they decidedly did not like us — this is true at least for the majority of the nineteenth-century British travelers to the New World. They came out of a sense of wonder, somewhat akin to the reaction of Thomas More who declared in his sixteenth-century Utopia that ‘nowadays countries are always being discovered that were never in the old geography books.’ Over the next few centuries, perhaps no emerging country west of the Atlantic would excite as much curiosity as the vast expanse of territory that would become known as the United States. It soon became manifest that, in expanding her geographical borders, the United States had staked out

Our unrelenting appetite for historical drama is fed by a ceaseless stream of novels and dramatisations – usually, these days, something to do with those naughty Tudors. Perhaps it is how my generation, dosed on pick n’ mix modules and special options (Industrial Revolution or Origins of WW1 anyone?), recovers lost ground. But it is unmediated history taken straight from the page that gives the real jolt. I recently acquired for the Bodleian a journal kept from 1813-1818 by the engraver and antiquary James Basire (1769-1822). His father was the more famous artist, closely associated with William Blake.  Nevertheless, the journal seemed worth having for all the right academic reasons.

‘Would you mind if I asked what your book is?’ She was in her late-thirties, with dark hair and a serious demeanour. Her reply to my question took a few seconds to appear, the short period in which a woman assesses whether the man sitting opposite her in a not-very-busy Tube carriage in the middle of the afternoon is or is not a weirdo. ‘Er … why?’ The words revealed a Spanish accent. They were delivered perfectly politely. ‘It’s just that I haven’t seen a book covered like that in ages.’ Since I was at school, in fact. The brown paper, which Ms Jubilee Line had folded into exquisite hospital