Bisexuality

Sexual fantasies, that dream you had last night, and ideas for novels have one thing in common: generally the best place for them is inside your head, never to be divulged. Until now, the major exception to the rule was Nancy Friday’s 1973 compilation of women’s fantasies, My Secret Garden, which sold more than two million copies worldwide. Friday aimed to emancipate women from guilt and inhibition, and informed an enthralled world that women of all stripes were prone to vivid erotic reverie. Many of the more heavily thumbed passages involved taboo elements, such as rape, incest and the occasional dog or octopus. Of course this was some decades before

Hera, the heroine of Madeleine Gray’s first novel, is 24, which, as she says, ‘seems young to most people but not to people in their mid-twenties’. She lives in Sydney with her father and their dog and works as an online community moderator, but the contents of her work bag reveal her to be Bridget Jones’s edgier little sister: ‘My wallet, three pairs of underpants, headphones, nine tampons, a travel vibrator, two novels, a notebook, two beer caps, a bottle of sake and a fountain pen.’ She will also inevitably be compared to Hannah from Lena Dunham’s Girls and to Phoebe Waller-Bridge’s Fleabag. Gray’s writing style is droll but if

Jim Ede started early. At the age of 12 he used £8 of his hard-won savings to buy a Queen Anne desk. No bicycle, air pistol or football for him: this solid piece of old furniture was the thing, the first step in a long life of acquiring objects that lived, breathed and spoke to him. To call him a compulsive collector is to understate the passion that over the years saw the desk followed by an avalanche of stuff, from porcelain and glasses to pebbles and feathers, textiles and above all paintings, drawings and sculpture. Each acquisition admired, loved, cherished and shared for its uniqueness – what Gerard Manley

It’s been a century since the heyday of the Bloomsbury group, and now Nino Strachey, a descendant of one of the key families, has written a superb, sparky and reflective book charting the doings of the younger members of the artistic and intellectual coterie. While it is easy to identify Old Bloomsbury – familiar names include Lytton and James Strachey, Duncan Grant, David ‘Bunny’ Garnett, Virginia and Leonard Woolf, Vanessa and Clive Bell, Roger Fry, John Maynard Keynes, E.M. Forster and Desmond and Molly MacCarthy – naming the younger ‘Bloomsberries’ is a slippery task. Do we count Dora Carrington, who loved Lytton to distraction, and after his death found she

In June 1957, Robert Lowell attended a poetry reading by E.E. Cummings. Sitting dutifully and deferentially alongside him were Allen Tate, W.S. Merwin and his wife Dido and the classical scholar William Alfred, ‘while Cummings read outrageous and sentimental poems, good and bad of both kinds’. They were not alone: ‘About eight thousand people listened.’ But you can tell from Lowell’s adjectives – ‘outrageous and sentimental’ – that Cummings’s reputation is already on the slide. Edna St Vincent Millay’s diaries record a reading in Waco on 10 January 1930: ‘In spite of icy streets, really dangerous & cold weather, abt. 1500 people present.’ In 1934, Millay took Laurence Olivier and

When Romeo and Juliet first meet at a party, their words to one another fall into the form of a sonnet: an exchange of 14 lines, expressing mutual love and ending with a neat rhyming couplet and a kiss. It is a touching, haunting moment, and like so much in Shakespeare, it also has an opposite. A little earlier in the play, Juliet’s mother Lady Capulet tries to praise Romeo’s rival Paris, and describes the hapless Paris in a horrible string of six rhyming couplets (‘This precious book of love, this unbound lover,/ To beautify him, only lacks a cover’). These 12 lines fail as a sonnet, where Romeo’s and