Biography

On a night in Paris in 1914, Gertrude Stein was walking with Picasso when the first camouflaged trucks passed by. ‘We had heard of camouflage,’ Stein recalled, ‘but we had not seen it, and Picasso, amazed, looked at it and then cried out, yes it is we who made it, that is Cubism.’ The art of blending into the background was indeed discovered by painters, but the roots of camouflage, Mary Horlock argues, lay in Impressionism. French camouflage manuals cited Corot rather than Picasso: ‘It is by variations of light and shadow, often very delicate, that one recognises how an object is solid and detached from its background.’ For Solomon

I saw a biopic about Morecambe and Wise recently. The actors impersonating the comedians were not a patch on the originals — how could they be? You need a genius to play a genius. I often wonder if my own HBO Peter Sellers movie would have been improved if someone fiery, of the calibre of Gary Oldman or Sacha Baron Cohen, had been cast instead of Geoffrey Rush, who was muffled under prosthetic make-up. But my point is, biopics seldom come off, and nor do biographies. Indeed, it is a reprehensible and misguided genre. Privacy is violated, creative achievements are explained away, and great men and women are unmasked as

At the end of his study of Debussy, Stephen Walsh makes the startling, but probably accurate, claim that musical revolutionaries tend to be popular. We generally think of radicals as being primarily like Schoenberg, Charles Ives and Pierre Boulez, whose works, after decades, still mainly appeal to a small group of sophisticates. But if one takes the larger view, there is no doubt that most composers who transformed the art of music were almost always immediately popular. Monteverdi, Beethoven, Chopin and Wagner commanded substantial audiences, with often beguiling surfaces and revolutionary substance. Schumann said that Chopin’s music was ‘a cannon buried in flowers’. The same might be said of Debussy,

Franklin D. Roosevelt isn’t as popular as he once was. When Barack Obama won the 2008 election, he let it be known that he was reading a book about FDR, and tumbleweed blew through the newsrooms. Which is odd because for many decades FDR was every bit the model liberal as Ronald Reagan was the model conservative. Roosevelt was credited with ending the Great Depression, laying the foundations of a welfare state and leading America through the second world war — achievements for which he was rewarded with not one, not two but four election victories. And he did all of this despite being an elitist East Coaster with a

‘There is only one thing in the world worse than being talked about, and that is not being talked about.’ Lord Henry Wotton said that. It is always better to read Bob Dylan than to read about him. I said that. Two new books by Dylan, and two about him, prove my point. Just out in a lovely slim hardback is Dylan’s Nobel lecture (Simon & Schuster, £14.99). Its 32 pages have already been well picked over and much written about, but Dylan’s own account of the way he took ‘folk lingo’ and ‘fundamental’ literary themes — by way of Moby-Dick, All Quiet on the Western Front and the Odyssey

Difficult Women: A Memoir of Three  David Plante New York Review of Books Classics, 2017, £10.99 Worlds Apart: A Memoir David Plante Bloomsbury, 2016, £10.99 Becoming a Londoner: A Diary David Plante Bloomsbury, 2014, £9.99 The novelist David Plante has been keeping a diary of his life since 1959. Now running to many millions of words, it covers several decades of literary and artistic life in London and Europe, and is archived every few years in the New York Public Library. His first foray into its publication came early, too early, with Difficult Women in 1983. Now, following closely after Becoming a Londoner and Worlds Apart, two substantial volumes covering the 70s and

When I recently asked a sardonic Northern Irish friend what historical figures Gerry Adams resembled, the tasteless reply came back: ‘A mixture of Jimmy Savile and Oswald Mosley.’ There are elements of both archetypes in this new unauthorised portrait, but it stops short of going the full distance. Perhaps we should not be surprised. The Savile reference is to the grisly theme of child abuse in Adams’s family, leading to his brother’s conviction for offences against his own daughter, and the revelation that Adams père had also sexually abused his children. Though no such accusation attaches to the Sinn Fein leader, these episodes have affected him politically as well as

In this week’s Books Podcast I talk to the incomparable Claire Tomalin — veteran literary editor, biographer of Mary Wollstonecraft, Pepys, Hardy and Dickens among others —  about her new memoir A Life of My Own.  Here’s a book that contains extraordinary hardship — domestic violence; the loss of loved ones — narrated with cool fortitude in fine prose. She talks about the sexism of old Fleet Street, the unexpected liberation of widowhood, her renunciation of poetry, and the extraordinary satisfaction, in literary biography, of finding her calling. And why being married to Michael Frayn keeps her from writing plays… You can listen to our conversation here: And do subscribe on

It’s awful, but the surname Rausing (once synonymous only with the Tetrapak fortune) now summons up a terrible stench in the imagination. It’s that of Eva Rausing’s decomposed body, wrapped in a tarpaulin on the marital double bed in Belgravia, buried under a mattress, several flat-screen televisions and a heap of blankets and duvets. When it was discovered by police forcing open the duct-taped bedroom door in July 2012 — more than two months after her husband Hans had left it there, unable to face up to his wife’s death from cocaine-induced heart failure — the only way Eva could be identified was by a fingerprint and the number on

On the evening of 28 October 1908, two unremarkable middle-class women wearing heavy overcoats gained admission to the Ladies’ Gallery, high above the chamber in the House of Commons. Suffragettes had previously hit the headlines by chaining themselves to the railings at 10 Downing Street and, emboldened by this success, the leaders of the women’s movement planned an even more outrageous demonstration. The Ladies’ Gallery was surrounded by a metal grille, and this had huge significance for the suffragettes, as it symbolised their exclusion from the patriarchal political system. The plot was for two of them to chain themselves to the hated grille. One of the women chosen for the

The Enigma of Kidson is a quintessentially Etonian book: narcissistic, complacent, a bit silly and ultimately beguiling. It is the story of Michael George MacDonald Kidson (MGMK, as he was known), who taught history at Eton from 1965 to 1994 and was an influential tutor to hundreds of boys, often the wayward and the damaged. Jamie Blackett, who was taught by him there, has collected Kidsoniana from former pupils, colleagues, friends and acquaintances. What emerges is a portrait of a colourful maverick who bullied and consoled generations of schoolboys into success and happiness. Blackett conjures up a cheerful world where robust and affectionate Springers (Kidson’s Dougal, Boody, Bertie, Charlie, Jed