Writing

I don’t intend to start a feud. Most of Sean Thomas’s essay on The Spectator’s website last week, titled ‘Good riddance to literary fiction’, I agree with. It’s true that the high-flown heavy hitters of the book biz get far less attention than in yesteryear – though ‘litfic’ has never been a big money-maker in publishing. It’s true that no one reads book reviews any longer, and I should know because I write book reviews. I’ve no use for fiction exclusively powered by plot. If the words are flat and lifeless, I can’t read the book It’s true, too, that literary prizes don’t trigger the massive surge in sales they

A good place to catch the highbrow sports journalist in action is the ‘Pseuds Corner’ column of PrivateEye, where he (and it’s always a ‘he’) regularly appears. Here you will discover that to contemplate Manchester City’s mid-season loss of form is ‘like sitting in Rome in 410 and watching the Visigoths pour over the horizon’, warm to the spectacle of Liverpool’s Virgil van Dijk ‘striding about the place like the 17th Earl of Egham with a quiver of pheasants over one shoulder’, or learn that the mothers of the former Everton manager Sean Dyche and the French national coach Didier Deschamps both worked in the textile industry, which may explain

Anniversaries. Back in mid-December 1998, 26 years ago to the month, we wrapped my first (and probably only) feature film as a director, The Trench. I always think about the film on 11 November, because during the shoot we observed a uniquely different minute’s silence in the labyrinth of trenches we had constructed on a soundstage at Bray Studios in Berkshire. The film follows a squad of young soldiers as they wait, over two fraught days in 1916, for the Battle of the Somme to begin. We paused filming at 11 a.m. and fell silent. I was standing in the frontline trench with a dozen young actors who were all

Writers, I hope we can all agree, should be paid for their work. That’s the principle behind the law of copyright, and it has held for more than a century. We owe it to (among others) Charles Dickens and Frances Hodgson Burnett. But what about when their work is quoted by other writers?  You’re allowed to quote only a certain proportion of a work before you need to pay the rights holder This week I published a new book in which I spend a lot of time discussing the work of other writers. The Haunted Wood: A History of Childhood Reading is a canter through children’s literature from Aesop and

The news that a vast cache of material by and concerning George Orwell is about to be cast to the four winds in the wake of a corporate sell-off has stirred predictable fury among Orwell buffs. As in all the best literary rows, the contending roles seemed to be clearly defined from the outset. There were the heroes (Orwell and his many acolytes); there was a principal villain – the publisher Hachette, which had decided to unload its archive, only to find that no single bidder could meet the asking price; there was the agent of their devilry (more about him in a moment); and even some subsidiary baddies, in

For those of us lucky enough to have been regular contributors to Punch magazine, April is a slightly crueller month than most, since it was on 8 April 32 years ago that the last edition collapsed, exhausted, on to the newspaper stands. By then it was way past its best, but in its day it had employed some of the very best brains in the business, led by some of the very best editors. I was lucky enough to be around when Alan Coren was in his prime. He led the magazine from the front, literally, and set a standard that the rest of us did our hardest to emulate,

Trying to publish a book used to be straightforward. You came up with an idea, spent months, if not years, writing it, then sent it off to an agent or publisher who rejected it by return. Life was simpler back then. We all knew where we were. Rejection wasn’t necessarily based on the quality of the work. Literature is a subjective business. Lord of the Flies earned William Golding 20 rejections. James Joyce, Jack Kerouac and Joseph Heller suffered similar fates. Marcel Proust was rejected so many times that he decided to pay for publication himself. The much-repeated industry statistic is between 1 and 2 per cent of manuscripts are

‘She’ll be telling us next how lovely the word petrichor is,’ replied my husband. I had told him that the redoubtable word-collector Susie Dent had said: ‘Probably my favourite winter-word of all, apricity, is the warmth of the sun on a chilly day.’ She has been saying this every winter for years, and why not? But I agree with my husband that petrichor is overdone. It was invented in 1964 by two contributors to the science journal Nature, and signifies the smell from rain falling on dry ground. The trouble is that petr– reminds me of petrol, and ichor, the ethereal fluid supposed to flow in the veins of the

I spoke too soon. Beatrix Potter, I suggested in an afterword to my 2016 biography of the author and illustrator, had escaped the distortions of sexual and racial revisionism that now blight so many eminent and long-dead British writers. But no longer. Last week a specialist in postcolonial literature at a northern university accused Potter of failing to acknowledge her indebtedness to an oral storytelling tradition of enslaved Africans working on American plantations. Welcome, please, a new Potter for the 21st century: exploitative, colonialist, dishonest. Potter’s concealment, claims Dr Emily Zobel Marshall, ‘[feeds] into a damaging and recurring appropriation of Black cultural forms that continues today’. Blimey. Zobel Marshall’s hypothesis

A world without Jeremy Clarke is a glummer place. The author of this magazine’s Low Life column for 23 years, who died on Sunday morning, was a spirited writer of the old school. He loved a rollicking good time, a beautifully turned phrase, a good gossip, casting an observant eye over life’s absurdities, and England. He despised the hypocrisy of the progressive middle classes, big egos and TV boxsets. He had quirkily conservative views, but friends of all classes and races, a deep knowledge of an unusual range of subjects, including rural matters, and a cheerful modesty that belied his talent as a writer. He despised the hypocrisy of the

The wonderful Barbara Kingsolver wrote that hope is something you should not admire from a distance, but rather live inside of, ‘under its roof’. Last week I lived under the roof of hope as the campaigns for the first round of the Turkish presidential elections drew to a close. This is an existential crossroads for Turkey, my motherland. The AKP under Recep Tayyip Erdogan have been in power for two decades. Although they started off on their journey with promises of liberal reforms, a democratic constitution, and plenty of rhetoric about joining the EU, they have become increasingly nationalist, Islamist, patriarchal and authoritarian with each passing year. Women’s rights have