The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
E. Nesbit once pointed out that, in order to write good books for the young, it is not necessary to enjoy a close relationship with children in adult life. The essential thing is to retain a true and vivid memory of one’s own childhood; not only of events and people, but of feelings and emotions,
Janet seems to have her life neatly organised. She’s hardworking, she has a nice boyfriend, she lives in a comfortable house and she drives a dark-green Golf. Recently, however, she has been receiving messages from her mind. Seizures (which also occurred in her childhood) will strike without warning and leave her humming with nervous tension
When in November 1975 Franco died, he still possessed the powers granted him by his fellow generals after the outbreak of the Civil War. Such powers, a French general observed, had been enjoyed by no leader since Napoleon. For 36 years, ‘all important decisions’, in John Hooper’s words, ‘were taken by one man’. In the
The ability to manufacture discontent from whatever materials are to hand is one of the most consistent characteristics of human nature. In Hubbub, pithy historian Emily Cockayne roams the seamy, stinky and squelchy side of English life: ‘The experiences presented here are unashamedly skewed towards the negative . . . . I am deliberately not
‘Probably best to do the interview before lunch,’ says a spokesman for Gérard Depardieu, France’s best-known export and highest-paid actor. This made sense. The last time I was due to meet Depardieu, at the UK launch of his cookbook two years ago, he failed to make it to the lavish party thrown in his honour,
In August 1964, after a series of severe storms, Italian fishermen dragging nets along the bottom of the Adriatic hauled out a life-sized bronze statue encrusted with nearly 2,000 years’ worth of barnacles. Thirteen years later, after a labyrinthine trail of greed, betrayal and smuggling, the masterpiece, ‘Statue of a Victorious Youth’, was bought by
A New World: England’s first view of America; Italian Prints 1875–1975 John White is one of the mysteries of English art. We don’t know exactly when he was born or died, we have no portrait of him and his name was a sufficiently common one to cause problems of identification in the surviving documents of
Camacho’s Wedding; Poro An opera by Mendelssohn? It sounds unlikely, but not because you can’t imagine him writing one, as you can’t with Bruckner or Brahms. You’d expect someone with Mendelssohn’s particular gifts to be able to write fine operas, but you’d also expect to have heard about them. And now it turns out that
Every eager collector of books and scores has their special searcher, primed to keep an eye open for long out-of-print rarities at reasonable prices. Mine, like Jesus’ blood, ‘never failed me yet’. Her latest triumph is to have procured a copy of Ernest Chausson’s opera Le roi Arthus, posthumously produced in 1903, four years after
As soon as she arrives everything falls apart. Dame Maggie Smith’s appearance in Edward Albee’s 1980 play The Lady From Dubuque marks the point when it all goes wrong. This isn’t her fault. She’s the most watchable and effective thing on stage and even now, on the fringes of old age, her lazy twangy sexy
It sounds like a really bad idea — Lenny Henry, the black comedian, devising a set of radio sketches to celebrate (oops, I should have said ‘commemorate’) Abolition. You can imagine the scene. Early one morning in late November 2006. An emergency Radio Four planning meeting high up in Broadcasting House on Portland Place. Big table.
Why do the French call an April Fool a poisson d’avril and a 1 April dupe a victime d’un poisson d’avril? I have always assumed it is because the victimes take the bait and swallow the hook; but Martin Wainwright tells us that the April Fish derives its name from ‘the dim-witted, bulging look of
One point in Robert Mugabe’s favour, despite the Zimbabwean patriarch’s brutally protracted autumn, is that he was never planted in power by a CIA-supported coup d’état. As Larry Devlin’s self-congratulatory yet revealing memoir makes clear, the same cannot be said of Zaire’s esteemed dictator, Joseph Désiré Mobutu, otherwise known as Mobutu Sese Seko. Army chief
Old men with dogs roam the neglected parkWhere they once played as boys. Now take a peepInto the lounge of Number Twenty ThreeThe Meads. Four sturdy youngsters sitBefore a slick computer, playing games.A milky, midget, artifical skyHolds them enraptured. Sterile bullets flashAnd flicker, stuttering across the screen,While Mother whisks around her microwavePreparing instant meals from plastic
The narrative trademark — or gimmick — of Joshua Ferris’s first novel, Then We Came to the End, is contained in the title: the book is told in the first person plural, which gives this story of Chicago office workers its initial powerful, even oracular, thrust. ‘We were fractious and overpaid,’ the book begins. ‘Our
This is a book about the failure of two marriages. One is destroyed by a past that refuses to slacken its grip, though the marriage itself has to limp on; the other is wrecked by a future impossible to avoid. They are seen through the eyes of four different people, two from one family, two from
South of the River is a stadium-sized novel of over 500 pages. It has the scope and ambition of an American McNovel — Don DeLillo’s Underworld, say, or The Corrections by Jonathan Franzen. At first it appears to be in narrative disarray, the plot leaping backwards and forwards in time. A theme soon emerges, however,
The Moghul monarchs’ way of life was an extravaganza of such breathtaking splendour that in comparison the Sun King’s Versailles seems understated. Both Shah Jahan and Louis XIV came to the throne in 1643 and their courts had much in common: architectural grandeur, luxury, a love of jewels and a flair for excess. What was
When David Rose visited Columbus, Georgia, to write a story about capital punishment in the United States, it drew him inexorably into a decade-long battle for justice on behalf of Carlton Gary, a black man on death row, convicted 20 years ago of a series of rape/murders of elderly white women committed some eight years
If you missed the exhibition of Glitter and Doom which ended last month at the Metropolitan Museum of Art in New York, this handsome hardback catalogue is a good armchair substitute. It contains three very readable essays — by no means typical of exhibition catalogues — and a wealth of colour illustrations. Sabine Rewald, the
‘Popular science’: for some readers this remains a problematic category. I’m sure proper scientists look askance at civilians reading such books on public transport, imagining their own abstruse specialities dumbed down for the hard-of-thinking. And the vast mass of arts graduates, who hate and fear science, remembering the bad trousers and unfortunate hairstyles of science
Auden, discussing Troilus and Cressida, remarked that major writers set themselves new challenges, and so risk failure, while minor ones are content to do the same thing as before and so risk nothing. There’s something in this, though, like many of his pronouncements, it’s too sweeping to be altogether true. (Besides which, the major/minor categorisation is
Rory Bremner is in a hurry. The controversial impersonator surges into his production office a few minutes late for our meeting. ‘So sorry. Did they tell you? We overran,’ he says in his light, energetic voice. ‘Won’t be a sec. Got to go to the loo. Ooh! Too much information.’ A few minutes later he
Here are two of the big hitters of Impressionism, both represented by shows which only investigate very particular aspects of their work. Monet and Renoir are names guaranteed to provide good box-office returns, but will the public be satisfied by the choice of work attached to their brand labels? Of course the RA and NG
At the age of only ten, Leon Kossoff undertook a momentous journey across London on his own. He travelled from his family home in the East End to Trafalgar Square and, having mounted the steps, entered the National Gallery. At first, the early Christian art he encountered inside filled the boy with fear. But after
Forget London, Paris and New York. For any serious collector of art and antiques there is just one unmissable event: The European Fine Art Fair at Maastricht. No one could have predicted 20 years ago that this once modest fair in a small Dutch town few had heard of before the eponymous treaty would become
I Want Candy is a British sex comedy, which should already sound alarm bells, but I will plough on heroically, as is my nature. It’s about two lads from Leatherhead — wannabe producer Joe (Tom Riley) and earnest auteur Baggy (Tom Burke) — who are still at film school yet are desperate to break into
‘I’m not a snob. Ask anyone. Well, anyone who matters.’ The author of this self-knowing gem is Simon LeBon and I read it on a freesheet discarded on the bus that took me to see Martin Crimp’s state-of-the-nation play, Attempts on her Life. Amazingly, this tossed-aside gag was the high point of my evening. Mr
The first revival of Thomas Adès’s The Tempest showed that, impressive as the first series of performances had been, three years ago, they were sketchy compared with what we see and hear at Covent Garden this time round. Certainly it sounded far more exciting this time: the opening deluge of sound was both more overwhelming