The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
After an absence of 30 years, Didier Eribon, professor of sociology at the University of Amiens, returned to the seedy outskirts of Reims, where he had grown up in the 1950s and 1960s. His ‘stupid and violent’ father, a factory worker who drank, went fishing, shouted at the television and beat his wife, had finally
The Paul Daniels Magic Show, on a Saturday afternoon in the early 1980s, was a straightforward enough proposition. A wand, a waistcoat and a wig; pick a card, any card….Here was Western conjuring as entertainment, in the music hall and variety tradition. Not much to connect it to gods and spirits; little in the way
The germ of the latest challenge, to submit a school essay written by a well-known author about one of their works, was the revelation that the novelist Ian McEwan helped his son to write an A-level essay about one of his books (Enduring Love), only to be awarded a less than stellar ‘C+’. Strong performers
When the German novelist Sophie von La Roche visited Oxford Street in the 1780s she saw watchmakers and fan shops, silversmiths and spirit booths, and a Pantheon that rivalled the one in Rome. Edward Gibbon called the domed ballroom, which hosted glitzy concerts, ‘the wonder of the eighteenth century and of the British empire’, but
Patrick Heron’s paintings of the 1950s melt like ice creams. You want to run your tongue along the canvas and catch the drips. They capture a sense of summer holiday sea-and-scampi freedom. When Heron (1920–99) was five, his father, a blouse and silk-scarf manufacturer, moved from Leeds to St Ives in Cornwall. Heron played with
One sphere that podcasts have so far not much penetrated is drama. Audible.co.uk is itching to develop its own brand but so far has limited itself to producing audiobooks read by a galaxy of stars. Recording plays is expensive, requires an understanding of studio techniques and a cast of actors who have learnt how to
Two films this week, one that has stood the test of time, dazzlingly — it still feels as fresh as a daisy, almost 90 years on — and another that’s so tiresome it felt almost 90 years long. First, Pandora’s Box, directed by G.W. Pabst in 1929, starring Louise Brooks and her iconic hair-do. It
Grade: B Another load of SJW moppets keening over 1980s synths. ‘It only takes two seconds to say: I don’t agree with white supremacy,’ they told the Guardian. Chvrches, a Scottish trio relocated to New York, are led by the elfin and relentlessly concerned Lauren Mayberry. The Eurythmics fronted by Owen Jones, then, kind of.
One by one, cathedrals have succumbed to the inevitable. In blazes of publicity, with front-page photographs of girls in cassocks in the cloisters, most deans and chapters have signalled their drive for equality of opportunity by inaugurating a girls’ choir to run alongside the boys’ one. So now, at the vast majority of our cathedrals,
Regime change at the Globe. The new boss, Michelle Terry, wants a 50/50 ratio of males to females in each production. Rather eccentric. Why cast a drama to reflect the distribution of sexual organs across the general populace? Imagine hiring an orchestra to represent the ratio of citizens who can play an instrument. And didn’t
I recently came across a theory of the American poet Delmore Schwartz’s that Hamlet only makes sense if you assume from the beginning that all the characters are drunk. Given Schwartz’s own fondness for booze, this idea perhaps smacks of drunken hyperbole itself. But it certainly sprang to mind while watching BBC2’s King Lear (Monday),
‘Comedy for music by Hugo von Hofmannsthal. Music by Richard Strauss.’ That’s what the creators of Der Rosenkavalier wrote on the score, but don’t expect to see it reprinted in any programme books. Their careful wording doesn’t fit modern assumptions about Der Rosenkavalier, and not merely because it gives the librettist first place. There’s that
‘I don’t think this was something I ever felt’, Sheila Heti writes in Motherhood — ‘that my body, my life, belonged to me.’ Heti’s narrator is childless, nearing her forties and living with her boyfriend. In semi-diaristic vignettes, she navigates the space of childlessness; the ‘sensation of life tapping its foot’. She reckons with the
In 1973, four years before he disappeared down the Star Wars rabbit hole, George Lucas directed the film American Graffiti, eulogising his days as a teenage car fanatic in Modesto, California; parking at drive-ins, hot-rodding and cruising for dates. This vanished world was only a decade away —‘Where were you in 62?’ said thepublicity —
Why are rehearsal diaries so compelling? One approaches them with cynicism and then ends up reading with racing heart through to the early hours, hurtling with a shared terror towards the described first night. First and foremost, there is the gossip, the sense of being behind closed doors, and gaining off-guard glimpses into the nature
Mary Colwell, a producer at the BBC natural history unit, is on a mission: to save the British curlew from extinction. Yet there is a key moment in this readable, highly informed and heartfelt book, when its author shows you the scale of her challenge. It is at the beginning of her 500-mile trek across
Early on in his introduction of nearly 60 pages, Owen Hatherley writes: ‘I find the Britain promised by Brexiters quite terrifying — xenophobic, paranoid, enclosed, pitifully nostalgic, cruel. But in much of the country that landscape never went away.’ One’s heart sinks. This isn’t even polemical; it’s just silly. The introduction, subtitled ‘What is a
The humble title of Seymour Hersh’s memoir is somewhat at odds with the tone of the book. He says the celebrated New York Times Vietnam War correspondent David Halberstam once wrote to him saying: ‘You are, my friend, a national treasure. Bless you.’ Another New York Times star, Harrison Salisbury, is quoted in reference to
‘Help!’ I thought, when I read the Author’s Note. ‘It’s about salmon, and I hate fishing.’ But by the first page I was hooked. Adam Weymouth writes well. He is poetic, but also precise. His subject is the return of the ‘king’ salmon to their birthplace and final destination, the north ridge of McNeil Lake
Publication of a debut novel is an experience comparable with the birth of a first child. Literary gestation is normally a longer process, and delivery of a book is more deeply fraught. Here is some evidence that the labour can be worthwhile. Asymmetry (Granta, £14.99) by Lisa Halliday, a young American now living in Milan,
It’s because it’s the land of the loner that the United States is so loved or loathed. Yet to me the most beguiling novels that have zipped across the Atlantic in the past half-century or so are mostly about groups, specifically groups on campus, usually a rather classy campus at that. Mary McCarthy’s Group were
In a 2013 interview with a Canadian newspaper, Rupert Thomson acknowledged the strange place he occupies in the literary world. ‘If I had a dollar,’ he mused, ‘for every time I’d heard someone say, “Why aren’t you more well known?…”’ Looking back on his reviews, you can certainly see what he means. For more than
The tailor’s art is a triumph of mind over schmatte. Not just in the physical cutting and stitching, but in the faith that style makes content. This, not the question of which way you dress, is the secret compact between tailor and client. ‘Every faculty of his soul, spirit, purse and person is heroically consecrated
Asked how he achieves the distinctive realism for which his novels and screenplays are famous, Richard Price, that sharp chronicler of the American underbelly, tends to cite Damon Runyon’s biographer Jimmy Breslin, who said that Runyon ‘did what all good journalists do — he hung out’. Set in the brutal confines of the Stanville Women’s
Lucky bastard. Such are the words that come constantly to mind while you’re reading Clancy Sigal’s two volumes of posthumously published autobiography. Blacklisted as a (self-confessedly lousy) actor for refusing to name names in the McCarthy era, working as the agent for the likes of Peter Lorre, Rod Steiger and — sigh — Barbara Stanwyck
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
The first episode of A Very English Scandal (BBC1), the story of the Jeremy Thorpe affair, was brilliant. So often, dramas about the past suffer from the disbenefit of hindsight. They use the dead as mannequins to wear their contemporary thoughts and attitudes. History, in their hands, is a form of what is now called ‘cultural appropriation’,
A most excellent fellow, Roger Allam. On the stage he brings dignity to all he does, in the noblest traditions of the British theatre. Off it he is a fully paid-up member of the human race, admired by his comrades as a man no less than as an actor. Some mummers, eager to let off
