The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
In the 1850s Britain was hit by an epidemic likened by The Illustrated London News to a ‘grippe or the cholera morbus’. It came from America rather than China and afflicted the mind rather than the body. The craze for table-turning was sparked in Hydesville, New York, in 1848 after two young sisters, Maggie and
In Geoff Dyer’s Jeff in Venice, the protagonist, at the Venice Biennale, muses on installations. ‘Ideally, the perfect art installation would be a nightclub, full of people, pumping music, lights, smoke machine and maybe drugs thrown in. You could call it Nightclub, and if you kept it going 24 hours a day it would be
Collectors of TV titles that sound as if they were thought of by Alan Partridge will presumably have spotted Danny Dyer on Harold Pinter. As Dyer himself understatedly put it: ‘This might seem an unlikely pairing: the likely lad and the Nobel Prize winner.’ Yet, what made the programme such an intriguing if undeniably peculiar watch
Grade: B– Time has been kind to Cat Stevens’s reputation — his estrangement from the music business and rad BAME credentials bestowing upon him an edginess which his mimsy fragile-voiced soft rock never really deserved. It’s the kind of retrospective benediction usually only death from some bad skag at the age of 27 can provide.
I think I am supposed to say that Bill & Ted Face the Music, the third in a franchise about two Californian morons who time travel to save the world, is a harmless satire on American teenage good-naturedness and stupidity. I’m not sure about that: I think it is more likely evidence of what American
The email from English National Opera was blunt: ‘Your arrival time is 18.25. If you arrive outside your allocated time slot, you may not be allowed entry.’ Perhaps, to habitual London drivers — if such people exist — negotiating the residential streets of Muswell Hill during a Saturday rush hour is all good clean urban
What has happened to Rada? The Royal Academy of Dramatic Art is the latest arts establishment to have gone mad. In the summer, it issued a self-flagellating public statement that it was institutionally racist and would ‘decolonise the curriculum and end racism’. The ‘actor-vists’ are clearly unhappy with the place. They should all be busy
The Old Vic refuses to reopen. Director Matthew Warchus says the social distancing rules make it impossible for him to reach the 70 per cent capacity he needs to break even. That was true in the old days when the Vic had to put on lavish fare and tempt audiences away from the opulent variety
The greatest pain of lockdown has been, for me, the absence of am-dram. In one half of my life I’m your financial columnist with a constant eye on the villains and heroes of the global business scene. In the other half, I’m the panto dame of my Yorkshire home town and the veteran of dozens
Ten years ago, reviewing Alastair Campbell’s diaries for The Spectator, I concluded as follows: Who will be the chroniclers of the Cameron government? Somewhere, unknown to his or her colleagues, a secret scribbler will already be at work, documenting the rise and, in due course, no doubt, the fall of this administration. Well, here it
Inside Story is called, on the front cover, which boasts a very charming photograph of the author and Christopher Hitchens, a novel. It also has a good and comprehensive (14-page) index. I’ve been a book reviewer for 35 years and I’ve lost count of the number of times I have wished, professionally, for larger novels
When reviewers say that some new book reminds them of some famous old book, it often ends up as a blurb on the paperback edition, so I want to be clear: when I say that George Dyson’s Analogia reminds me of Robert Pirsig’s New Age classic Zen and the Art of Motorcycle Maintenance, I do
Christopher Hitchens once said that women just aren’t as funny as men and Caitlin Moran believed him. But that was many years ago — the great male essayist and orator has been dead for a decade — and Moran has matured into a bold, wise, middle-aged comedienne. When she was growing up in the 1980s,
In the Pacific Northwest, Native Americans paint images of salmon on to stones. They say that if you rub those stones you will acquire the fish’s two great qualities: determination and energy. Not so long ago these communities’ diets consisted of more than 80 per cent salmon, and they believed it to be a wondrous
Gilbert in Oscar Wilde’s dialogue ‘The Critic as Artist’: ‘Every great man nowadays has his disciples, and it is always Judas who writes the biography.’ Not here. Hermione Lee’s immensely long Tom Stoppard: A Life is expert, engrossing, entertaining and sympathetic to its subject. At its heart is a writer steely in his determination to
The hand is one of the first images to appear in art. There are handprints on the walls of caves in southern France, Indonesia and Argentina, made up to 50,000 years ago, which, although no doubt an illusion, seem to be waving at us across a vast gulf of time. The gigantic paintings of golden
Cuties is the subject of a moral panic and a hashtag #CancelNetflix. It tells the story of Amy (Fathia Youssouf), an 11-year-old Franco-Senegalese girl living in Paris, who learns that her father is taking a second wife. (Polygamy is widespread in west Africa, but you wouldn’t know it from mainstream cinema. You wouldn’t know much
To be a good illustrator, said Mervyn Peake, it is necessary to do two things. The first is to subordinate yourself entirely to the book. The second is ‘to slide into another man’s soul’. In 1933, at the age of 22, Peake did precisely that. Relinquishing his studies at the Royal Academy Schools to move
The Last Night of the Proms came and went, and it was pretty much as anyone might have predicted, if they’d given it a moment’s thought. A sprinkling of popular classics, a pair of unthreatening premières, the familiar landmarks tastefully and affectionately done, and some show tunes and arias, sung by the soprano Golda Schultz
‘Art is dead,’ declared Mark Steyn recently. He was referring to the new rules — copied from the Baftas — whereby to qualify for the Oscars your movie must have the correct quota of gay/ethnic minority/transgender/etc people. This, he argued, will lead to the kind of leaden, politicised, phoney art we associate with communist regimes
Listening to the tacky and incomprehensible audio-adaptation of Neil Gaiman’s graphic novel series Sandman, I couldn’t stop thinking about the 19th-century Swiss artist Rodolphe Töppfer. Did Mr Töppfer realise what he was doing when he one day decided to draw a narrative in sequential panels with captions underneath? His satirical novel in pictures, Histoire de
Covid marshals have invaded theatreland. Arriving for a weekday matinee at the Bridge, I was greeted by stewards holding up illuminated boards. ‘PLEASE WEAR A FACE COVERING.’ Inside, the seating had been rearranged into clumps of twos and threes with the odd single perch sticking out like a toadstool. Nicholas Hytner offered us a pair
Grade: B– Of all the various subdivisions in that wheezing and crippled phenomenon that we call rock music, prog has fared better than most, spawning its own devilish offspring in math rock and post-rock. Why? Maybe we are more amenable to bombast and pretension these days. Or perhaps new studio technology lends itself to the
The British romance with Germany has always been an on-off affair. At the turn of the century, Kaiser Bill enjoyed brief popularity, based on dynastic ties, until his bombastic militarism set Germany on a path to war. Thirty years on, as Tim Bouverie reminds us in his book Appeasing Hitler, many in the English ruling
I have a book of essays from 1986 by a group of British and American scholars called The Special Relationship. The editor, Professor Roger Louis, was advised to give it another title. The director of Chatham House, the late David Watt no less, called it ‘rhetorical nonsense’. Yet, as Louis noted: The ‘Special Relationship’ would
The line between obsession and addiction is as thin as rolling paper. Neither are simple and both stem from absence, avoidance or — as Jenny, the dissatisfied housewife in Natasha Randall’s droll debut novel, calls it — life’s ‘marshmallow numbness’. Jenny’s drug? The sticky, sweet-smelling orange glue that seals the intimate letters she receives from
This book made me almost weep with nostalgia, but heaven knows what today’s snowflakes will make of it. Fleet Street working conditions were horrendous — the offices were filthy, and covered in a thick pall of cigarette smoke. There’d be frequent wastepaper bin fires when someone threw a smouldering cigarette into a bin full of
Susanna Clarke is a member of the elite group of authors who don’t write enough. In 2004, the bestselling debut from a cookery book editor seemed to promise an unfailing fountain of the creative imagination: Jonathan Strange and Mr Norrell, a three-volume reworking of Britain’s military tussle with Napoleon, but with added fairies, felt like
One day a baby bird falls from its nest into an oily scrapyard in Bermondsey, south London and seems unlikely to survive. As the writer Charlie Gilmour and his set-designer fiancée Janina (Yana) find themselves scrutinised by the tiny creature’s ‘gemstone eyes’ they become caught up in an unexpected urge to save the fledgling’s life.