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In this week’s edition of The Green Room, Deputy Editor of The Spectator’s world edition Dominic Green meets DJ Taylor, who writes in the June edition of Spectator World, about Hawkwind, unlikely champions of the British rock underground. Less a band, more a way of life, the fascinating story of Hawkwind veers from the radicalism
Like many a 20th-century publishing house, the fine old firm of Faber & Faber came about almost by accident. The inaugurating Faber — Geoffrey — was an All Souls don in search of a livelihood, who began his career in the post-Great War book trade by investing in the Scientific Press, publishers of the Nursing
One fail-safe test of a writer’s reputation is to see how many times his or her books get taken out of the London Library. Here, alas, John Lodwick (1916–1959) scores particularly badly. If The Butterfly Net (‘filled with a lot of booksy talk and worldly philosophising,’ Angus Wilson pronounced in 1954) has run to all
Searching for a 12-month stretch in the life of Elizabeth Jane Howard (1923–2013) that might illuminate the kind of person she was and the circumstances of her fraught and chaotic career, I settled on the year of 1955. Our heroine, then living in a maisonette flat in Little Venice and reading manuscripts for the publishing
If the early Martin Amis is instantly recognisable by way of its idiosyncratic slang (‘rug-rethink’, ‘going tonto’ etc) then the later Pat Barker can be similarly identified by its finely wrought accounts of physical trauma. ‘Afterwards, it was the horses she remembered,’ runs a specimen sentence from the new novel, ‘galloping towards them out of
Anyone who has ever listened to the thump of a rejected manuscript descending cheerlessly on to the mat can take comfort from the roller-coaster career of Barbara Pym. Between 1950 and 1961 Miss Pym (1913–1980) had published six modestly successful novels with the firm of Jonathan Cape. Then, on 24 March 1963 — ‘a sobering
Heaven knows what the millions of purchasers of the Man Booker-winning Wolf Hall and Bring Up the Bodies will make of the ten stories collected here, for they return us to the landscape occupied by Hilary Mantel’s last great contemporary novel, Beyond Black (2005). This, for those of you unfamiliar with her pre- (or rather
Charles Palliser’s debut novel The Quincunx appeared as far back as 1989. Lavish and labyrinthine, this shifted nigh on a million copies, while more or less inaugurating the genre of ‘neo-Victorian literature’, whose ornaments are still clogging up the bookshop shelves a quarter of a century later. There have been three other novels since, at
I am just old enough to remember the terrific fuss that was made about the first Scots literary renaissance when it kicked into gear in the early 1980s. Inaugurated by Alasdair Gray’s Lanark (1981), whipped up into a movement by Gray, Agnes Owens and James Kelman’s Lean Tales (1985), and sent on a downward spiral
The Forgotten Waltz is one of those densely recapitulative novels that seek to interpret emotional crack-up from the angle of its ground-down aftermath. At the same time, it is not really a book about hindsight. Sometimes extending information to the reader and sometimes deliberately covering its tracks, sometimes inviting sympathy for its characters and sometimes
Reviewing Lindsay Clarke’s Whitbread-winning The Chymical Wedding a small matter of 20 years ago, and noting its free and easy cast and wistful nods in the direction of the Age of Aquarius, I eventually pronounced that it was a ‘hippy novel’. Reviewing Lindsay Clarke’s Whitbread-winning The Chymical Wedding a small matter of 20 years ago,
The most striking thing about Piers Paul Read’s early novels was their characters’ susceptibility to physical decay. The most striking thing about Piers Paul Read’s early novels was their characters’ susceptibility to physical decay. The bloom of youth barely had time to settle before it was overrun by maggots. Thus, coolly appraising his mistress’s somewhat
Unusually for a work of fiction, Tim Pears’ new novel opens with a spread of black-and-white photographs, part of an ‘investigator’s report’ into a fatal collision said to have taken place on a Birmingham dual carriageway in the summer of 1996. Unusually for a work of fiction, Tim Pears’ new novel opens with a spread
Notwithstanding’s suite of inter- linked stories draws on Louis de Bernière’s memories of the Surrey village (somewhere near Godalming, you infer) where he lived as a boy. Notwithstanding’s suite of inter- linked stories draws on Louis de Bernière’s memories of the Surrey village (somewhere near Godalming, you infer) where he lived as a boy. Having
One could easily get lost in Jerusalem’s myriad compartments. To begin with there is Preston Pinner, CEO of ‘AuthencityTM’, otherwise known as the ‘hip hub’, a ‘contemporary cultural consulting and production house’ deviously at work to manipulate consumer tastes. Then there is Preston’s father, David, a hard-drinking, skirt-chasing junior minister about to depart to ‘Zambabwia’,
It was probably a mistake for Monica Ali to call the hero of her third novel Gabriel Lightfoot. The reader thinks of Hardy’s bucolic swains and the reddle-man’s cart disappearing over Egdon Heath, whereas instead there lumbers into view a 42-year-old hotel chef with an incipient bald spot and inadequate leisure. On the other hand,
Craven House, by Patrick Hamilton Patrick Hamilton (d. 1962) was a supremely odd fish, a kind of case-study in psychological extremism who drank himself to death at the early age of 58. His later novels, written when the drink was cracking him up, offer the curious spectacle of a mind that has travelled too far
No disrespect to Jeremy Lewis, this third amiable volume of autobiography or his hopeful sponsors at the Harper Press, but it is extraordinary that books like this still get written. Here we are, after all, in the age of the Waterstone’s three-for-two, the novels of Miss Keri Katona and the cheery philistinism of the man
Anthony Powell always maintained that readers who disliked his early books did so on essentially non-literary grounds. Conservative reviewers of the 1930s, irked by the party-going degenerates of a novel like Afternoon Men (1931) did not believe that such people existed. If, on the other hand, they did exist then novels ought not to be
Tugging the review copy of Granta 100 out of its jiffy bag, I decided to conduct a little experiment. I would write down the names of the writers whom I expected to find in it and award myself marks out of ten. Two minutes’ thought produced the following: Martin Amis, Julian Barnes, Ian McEwan, Salman