Howard Jacobson’s Mother’s Boy: A Writer’s Beginnings is out now.
I’ve run away. I’m not saying where I’ve run to because then they’d be able to find me. I’m not saying who ‘they’ are either. So far no one has noticed I’m missing. I shuffle along with my head down, my old-geezer Woody Allen bucket hat sheltering my face, my hands shoved deep into the
In Hatchards for the launch of Andrea Rose’s catalogue raisonné of Leon Kossoff’s oil paintings. It’s bad for the morale of writers to frequent bookshops: too many shelves without their books on them. But I’m here to talk about Kossoff, not me. Whether he shunned galleries that showed him scant respect — one of the
I’m watching television more uncritically than usual but still can’t stomach the format of Live at the Apollo. It features some clever comedians, but its artificiality, cutting to the audience to show canned hilarity — or worse, canned celebrity hilarity; or worse still, genuine hilarity — is a turn-off. It’s not the comedians’ fault that
From the balcony where I take my daily exercise there is a view of the commercial centre of London that is so susceptible to changes of the light you feel you are in a different city every day. When the dying sun is reflected in its glass towers, the city looks like Las Vegas burning.
In Edinburgh to speak about my new novel Zoo Time at the book festival. I love it up here, watching the rain lashing the austere grey terraces, dodging the street clowns who don’t really belong in so serious a place, visiting the Victorian dead in the marvellously voluble Dean Cemetery (it’s the stones that do
In Edinburgh to speak about my new novel Zoo Time at the book festival. I love it up here, watching the rain lashing the austere grey terraces, dodging the street clowns who don’t really belong in so serious a place, visiting the Victorian dead in the marvellously voluble Dean Cemetery (it’s the stones that do