‘We didn’t need dialogue’, glares Gloria Swanson’s crazed silent picture star midway through Billy Wilder’s Sunset Boulevard. ‘We had faces!’ She had a point. Even those of us who believe the movies weren’t really the movies until they had snappy dialogue (and no dialogue ever snapped the way Wilder’s did) have to concede that Swanson
Claire Keegan’s tiny, cataclysmic novel takes us into the heart of small-town Ireland a few decades ago, creating a world that feels in certain respects dead and buried but whose legacy the country is still processing. This is Ireland before the boom and bust of the Celtic Tiger; before the insidious, everyday power of the
In January 1780 the news reached London that Captain Cook had been killed and eaten in Hawaii. The story of his death was met with morbid fascination by the general public, inspiring paintings, poems and even a ballet. This ballet was so violent that one of the dancers accidentally stabbed another during the scene of
Unusually for a book about nature, the species in question, in this lucid story of the relationship between birds and humans, is ours. Why catch six million ibises, attractive water birds with curved beaks, plunge them into vats of liquid resin, wrap them in bandages and bury them in vast cemeteries in Middle Egypt in
‘I went into show business to make a noise, to pronounce myself,’ Mel Brooks told Kenneth Tynan in 1977, in a New Yorker profile entitled, with appalling relish, ‘Detours and Frolics of a Short Hebrew’. ‘I want to go on making the loudest noise to the most people.’ His memoir All About Me! may be
From Ladybird’s The Story of Music (a dinky 50 pages, generously illustrated) to Richard Taruskin’s five-volume epic The Oxford History of Western Music, the history of classical music has been sliced and stretched in print to fit every possible length, format and agenda. Andrew Gant’s Five Straight Lines joins the cluster of works jostling and
Professor David Damrosch, the director of Harvard’s Institute for World Literature, fell in love with ‘a fictional realm that I’d never imagined’ in 1968. His English teacher, Miss Staats, gave him Laurence Sterne’s Tristram Shandy. This horizon-stretching Manhattan educator turns up again in another light towards the end of this book. A long-term girlfriend of
In the summer of 1940, after almost 20 years in Paris, Man Ray fled the Nazis for the country of his birth. Disliking New York, where he’d spent his youth, he made for the West Coast. He hoped to get as far as Tahiti or Hawaii. But his trip came to an end when, braced
‘Whether I am a trembling creature or whether I have the right…’ The much quoted words of Rodion Raskolnikov, the protagonist of Crime and Punishment, encapsulate the novel’s main question. Fyodor Dostoevsky first pitched the idea of ‘the psychological account of a crime’ to a publisher in 1865. Three decades earlier, a real-life murderer, Pierre
James Courage is one of those fine writers who, though he enjoyed considerable success in his lifetime, has now more or less slipped from view. None of the eight novels he published between 1933 and 1961 is in print and most of them are impossible to find secondhand. The same goes for a collection of
‘Read slowly, word by word, if you wish to understand what I am saying.’ Despite appearing in Essays Two, the latest non-fiction collection from Lydia Davis, this exhortation is by the Norwegian author Dag Solstad; yet the approach is apt for Davis’s work. This is not because Davis, a feted translator and writer who won
Last year I wrote a piece about James Bond for the ‘Freelance’ column of the Times Literary Supplement. All true Bond lovers — of the novels, I mean — know that he lived in a ‘comfortable flat in a plane-tree’d square off the King’s Road’, as Ian Fleming described it in Moonraker. Further internal evidence
Lolita, the Lady Chatterley trial, the pill, Christine Keeler, ‘(I Can’t Get No) Satisfaction’, love-ins, Oh! Calcutta!, the Oz trial — sex, even more than usual, was on people’s minds in the 1960s, that semi-mythical decade which, to stretch a point, lasted from the late 1950s to the early 1970s. That, anyway, is the plausible
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On 2 October last year, when he became chief of the UK Secret Intelligence Service (MI6, if you prefer), Richard Moore tweeted (tweeted!): ‘#Bond or #Smiley need not apply. They’re (splendid) fiction but actually we’re #secretlyjustlikeyou.’ The gesture’s novelty disguised, at the time, its appalling real-world implications. Bond was, after all, competent and Smiley had
‘Who,’ asks Stephen Bayley, in one of the ‘S.B’ chapters of this irresistibly spiky co-written book, ‘could countenance working for a man like Terence, a man of such fluid principles, of such day-glo opportunism, of such sun-dried narcissism, guiltless hypo-crisy and Hallelujah Chorus egomania?’ Well, both S.B. and R.M. (the ad man Roger Mavity) did
Truffles smell of sex. Even if we can’t quite say what we mean by ‘smell’ or ‘sex’ in this sentence, the much sought-after underground fungi emit something analogous to the pheromones that subconsciously attract us to other human beings. On the conscious level, these members of the family Tuberaceae release aromas ranging from floral to
Rising professors do well to be controversial if they wish to be invited to contribute to mainstream media. But the elder professor, lauded, loved and telly-tastic, has the privilege of swerving controversy without losing the limelight. And so Mary Beard gives us this rich disquisition on the Caesars’ visual representation (and misrepresentation), from swapped plinths
In his new book on Europe’s cathedrals, Simon Jenkins begins with the claim that the greatest among them are our most important European works of art. Greater than the paintings of El Greco or Berthe Morisot? More momentous than the buildings of Mies van der Rohe or Norman Foster? More important than the organ music
A friend who works in social care speaks to me earnestly about a troubled young colleague: ‘Of course, she’s got a borderline personality disorder…’ I check her there: ‘What do you mean by that?’ She thinks for a moment and continues: ‘Well, she’s very emotional, she can’t maintain relationships, and she’s very defiant…’ I wait