Edinburgh Festival

I love Edinburgh. I’m not sure it loves me

This year I shall have lived in Edinburgh for a quarter of a century. I fell in love with the city on the 23 bus travelling from the New Town to the Old Town. There was so much architecture. Gothic and Georgian, medieval, baronial. So many turrets and finials, tollbooths and towers. I was drunk on the stuff. Add pomp – a Royal Mile, a castle, a palace. Then the libraries, art galleries, museums. And that’s before you get to bookshops and Edinburgh’s proud moniker, the first Unesco City of Literature. What other city has a railway station (Waverley) named after a novel or a high street (Princes Street) with

How Damien Hirst ruined Devon

There are few better locations to resist la rentrée than the wilds of Exmoor. The late August heather and gorse. The hidden coves. The bracken and this year’s superb crop of blackberries. Then the rain. So much rain (though of course the reliably incompetent South West Water still has a hosepipe ban in place). The only blot on the landscape remains Damien Hirst’s ill-conceived 65ft statue of ‘Verity’ – a flayed pregnant woman, with her innards on show, standing on a pile of books and holding a sword – which dominates Ilfracombe’s harbour. It exemplifies the worst of public-private art, lacking any meaningful connection to the history or culture of

The vibrancy of the Edinburgh Festival

I’m doing a show in Edinburgh for the first time in a long while. It’s fun, although I feel I’m basically wearing a scent called Elder Statesman (I’m hoping it smells more of ancient leather and authority than incontinence). I get stopped in the street a lot, including by some people who have not mistaken me for Ben Elton. One of the two shows I’m doing, at Assembly Studios at lunchtime, is a Q&A based around the themes in my books Jews Don’t Count and The God Desire. The idea comes from doing loads of literary festivals, where I tend to get interviewed by a luminary for 50 minutes and then there

Lloyd Evans

A tragicomic lecture about Gold at Edinburgh Festival

A chilly August in Edinburgh. Colder than it’s been for 20 years and the city looks scruffier than ever. Locked Portakabins squat in elegant stone courtyards. Unused site machinery lies abandoned outside neoclassical museums. Pavements and bridges are scarred by ugly steel roadblocks, and lurid street signs mar the visual harmony of virtually every thoroughfare. The place seems to be governed by a crew of philistine control freaks whose bossy urges affect the festival staff. You can’t move anywhere without a lecture. ‘Go this way, not that way, mind your head, ascend the steps on the left to avoid those coming down on the right, and take off your jacket