The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
I spent the summer of 1976 working as a trainee gardener at the Arboretum Kalmthout in Belgium. My employer was charming and kind, but I could not suppress a prickle of shame-faced irritation every time she mentioned a former student called Susan Dickinson. Whenever I leant on my hoe for a moment in the pelting
In late Victorian south London a ‘lower-middle-class’ boy, Arthur Ward, is lingering over his copy of The Arabian Nights. The book falls open at a colour illustration of Scheherazade, mysteriously pictured with a white peacock. Twenty years later, she materialises as Kâramanèh, the dazzling female sidekick of Fu Manchu. Young Arthur, who by now had
On 14 November 1940, at seven in the evening, the Luftwaffe began to bomb Coventry. The skyline turned red like an eclipse of the sun as clouds of cinders, lit red by the blaze, floated down over the great West Midlands city. Coventry seemed to have been hit by a meteorite. The mile-high roar of
In his youth, Samuel Palmer (1805–1881) painted like a Romantic poet. The moonlit field of ‘The Harvest Moon’ (1831–32) glows with uncanny significance; for Palmer, as for Tolstoy’s Lieven, the bowed forms of the peasants at the harvest are shadows of divinity. Palmer aged like a Romantic poet too. The long-haired mystic became a High
The Silent Deep is a compelling and fascinating exposé of a service that for too long has had to remain in the shadows. Peter Hennessy and James Jinks are to be congratulated on producing what must be the definitive work on the Royal Naval Submarine Service from 1945 to the present day. In his inimitable
Daniel Hahn I suspect many people won’t bother to read Katherine Rundell’s The Wolf Wilder (Bloomsbury, £12.99) because it’s a children’s book. Don’t be one of those people. You’d be depriving yourself of a ferociously paced, brilliantly imagined piece of gorgeous, immersive storytelling — and really, why would you want to do that? Set
Dominic Sandbrook’s The Great British Dream Factory (Allen Lane, £25) is very long, but I read it in less than two days, my attention never flagging. Sandbrook’s main contention is that as Britain declined as an imperial power, it reinvented itself as a purveyor of popular culture to the world. Embracing everything from Black Sabbath’s
No book this year has provided me with such interest and visual delight as Gavin Stamp’s superb Gothic for the Steam Age: An Illustrated Biography of George Gilbert Scott (Aurum Press, £30). The Midland Hotel St Pancras, the Martyr’s Memorial in Oxford, the Albert Memorial in Kensington, the Hereford Choir Screen, Holy Trinity Rugby, where
No question about the book of the year: it’s Michel Houellebecq’s Submission (Heinemann, £18.99) in Lorin Stein’s fluent translation. It’s France, 2022, when a moderate Muslim Brotherhood government takes charge. While the narrator submits to the new low-key Islamic regime, the liberal left collapses for want of coherence before an ideology intent on winning the
The highlight for me this year was the South African writer Jonny Steinberg’s A Man of Good Hope (Cape, £18.99), hugely topical at a time when Europe is contemplating what it means to be a refugee. I’ve repeatedly found myself recommending it to friends. Steinberg is a novelist camouflaging himself as a non-fiction writer, and
My favourite book of the year was The Hotel Years, a collection of wanderings by the incomparable Joseph Roth (Granta, £16.99). I was oddly touched by Everything is Happening: Journey into a Painting, the swan-song of Michael Jacobs concerning the Velazquez masterpiece ‘Las Meninas’. And the grand and peculiar Landmarks seemed to me a welcome change
Last week, industry body UK Theatre reported that average theatre prices rose by more than five per cent across the UK, apparently to pick up the shortfall from funding cuts. It was an interesting read, but no great surprise. While public funding of the arts comes from an admirable social and ethical place – that
They’ve already found a cure for the common cold. It’s called Technicolor. My first dose of it came during the Christmas holidays when I was about 12. There I was, ailing and miserable, when The Adventures of Robin Hood (1938) came on the television at the end of my bed. Nothing had prepared me for
One day, in October 1930, Alexander Calder visited the great abstract painter Piet Mondrian in his apartment in Paris. The Dutch artist had turned this small space on rue du Départ, which also doubled as his studio, into a walk-in work of art. Even his gramophone, painted bright red, had become a note of pure
When George Osborne travelled to China in September, he took with him gifts of British artistic and cultural enterprise. He announced major projects on Shakespeare, Hockney and British landscape painting. It is British creative talent that appeals to China and the world. For how long will the Chancellor and his successors be able to do this?
One of the challenges of art is to know the difference between innovation and error. I wonder sometimes if the Royal Court realises such a confusion can arise. Its new production, RoosevElvis, has been hailed as a thesaurus of fascinating novelties but to me it looks like a classic case of ineptitude posing as originality.
Steve Jobs is a film about a man in whom I have little interest, but for 120 minutes I was at least quite interested, which is a result. But this doesn’t make it a great film, and in many ways it isn’t. It never quite pins Jobs down. It never quite works out what it
The main problem with being a TV critic, I’ve noticed over the years, is that you have to watch so much TV. It’s not that I’m against it in principle: I like my evening’s televisual soma as much as the next shattered wage slave with no life. But the reality is that you end up
It’s just not what you expect to hear on Radio 3 but I happened upon Music Matters on Saturday morning and after playing us a clip from the opening chorus of St Matthew Passion Tom Service pronounced, ‘Bach is a tasteless and chaotic composer.’ I felt as if my ears had been syringed. Service was
The Force of Destiny, ENO’s latest offering to its ‘stakeholders’, as its audiences are now called thanks to Cressida Pollock, the new CEO, is perhaps Verdi’s most interesting failure. It’s an opera with too much fine, even magnificent, music to be neglected, but it doesn’t add up to a satisfactory experience. Even epics, which Force
Timing is everything, and few cookbooks come at an apter moment than Mamushka (Mitchell Beazley, £25) by the excellently named Ukrainian-born Olia Hercules. It is too easy to pun on her strengths, but in these flamboyant recipes and stories, Hercules lifts up not just the cooking of her country but that of others in the
A highlight of this year’s Dublin Theatre Festival was the Rough Magic Theatre Company’s production of The Train, a musical by Arthur Riordan and Bill Whelan. Political theatre at its wittiest and craziest, it told the story of the fledgling Irish Women’s Liberation Movement’s publicised trip in 1971 to Belfast to buy contraceptives, ostentatiously importing
Here are two books which have almost nothing in common: form, function, source material, methodology, all utterly different. The surprise is that I should be surprised. Loss and rediscovery is at the core of what writers mostly deal with. We all experience loss (lovers, spectacles, innocence, our very existences) and that universality allows each of
The Concorde experience, a fleeting indulgence in luxurious grandiosity, began each day with circumvention of the hugger-mugger of the hoi polloi at Heathrow. In the tranquillity of the exclusive Concorde departure lounge, insulated against the vulgar cacophony of the rest of the terminal building, elite passengers, only 100 at a time, while awaiting the call
When Hugh and Mirabel Cecil’s book In Search of Rex Whistler was published in 2012, the late Brian Sewell reviewed it with typical insight and lack of generosity. Despite recognising the artist as an extraordinary talent and perhaps the inventor of neo-romanticism, he regretted that Whistler would never be taken sufficiently seriously and pronounced it
When Rachel, one of the unreliable narrators of Number 11, wants to ‘go back to the very beginning’, she starts with the death of Dr David Kelly, the former United Nations weapons inspector, discovered dead in woodland on Harrowdown Hill in Oxfordshire on 18 July 2003, shortly after casting doubt on the government dossier that
The first draft of the famous story was called ‘A Martini as Big as the Ritz’. That’s not true, but F. Scott Fitzgerald was certainly at work in the First Cocktail Age. The Algonquin circle also floated into literary history on a choppy ocean of toxically high-ABV mixed drinks. The quotes and jokes are legend:
There’s a moment in Craig Ryan’s spectacular biography of John Paul Stapp — the maverick American Air Force doctor who, in the 1950s, became the fastest man on earth — where the reader falls inexorably in love with Ryan’s subject. It’s on page 17, when Stapp encounters what his Baptist missionary father had taught his
In 2004, French police officers searching the home of the professional cyclist David Millar found some syringes and empty phials hidden in a hollowed-out book. Millar confessed that he had been using the substance EPO to boost his red-blood-cell count. He was banned from the sport for two years, and returned to cycling a reformed