Essays

This is Alice B. Toklas, ventriloquised by her partner, Gertrude Stein: I must say that only three times in my life have I met a genius and each time a bell within me rang and I was not mistaken, and I may say in each case it was before there was any general recognition of the quality of genius in them. The three geniuses of whom I speak are Gertrude Stein, Pablo Picasso and Alfred Whitehead [the mathematician]. Defiantly, flagrantly clairvoyant. Daring us to dispute the claim, the Big Lie flourishes. Size matters. Think George Steiner, Joseph Brodsky, Big Whoppers both, tirelessly fibbing.  Towards the end of his life, in

Early one morning, Alan Garner goes to let the hens out. The hens live in a hutch in the garden of Toad Hall in Blackden, Cheshire, a medieval dwelling which Garner has made his home since 1957, not many miles from where all his forebears – artisans and smiths – lived and worked for generations. Something glints in the light, catches his eye. ‘It is thin, translucent, honey-black and sharp; sharper than a surgeon’s steel.’ He knows just what it is. A flint, a tool, a precision instrument. ‘I am the first to know in the eight to ten thousand years since the last hand that held it.’ Alan Garner

‘Let me leave Cairn here as a trail marker, a moment noted, a view from the strange here-and-now,’ Kathleen Jamie states towards the end of the prologue to her exquisite new collection of writings. In more than 40 micro-essays and poems, her keen-eyed view encompasses both an uninhabited island far out at sea and a piece of flint in her hand; it accommodates surfacing memories and also peers into the uncertain future awaiting the next generation. A balanced tower of ultra-short pieces is a new form for Jamie, the Scottish makar (or national poet), who also pens longer pieces of nature writing, collected into the genre-expanding works: Findings, Sightlines and

This volume of short essays – originally written for the New Yorker in the 1940s and 1950s but never before assembled – provides ample evidence that the great S.J. Perelman could misspend his youth with the best of them. It’s also the closest thing to an autobiography he ever completed: a series of comic reflections on the awful, absorbing books and movies which entertained him when he should have been attending his classes at Brown University (from which he eventually dropped out), or keeping a steady job. Recollected in the tranquillity (or complacency) of being a well-established, middle-aged family man, these guilty pleasures prove less absorbing to him the second

The St Brice’s Day Massacre? I must admit I hadn’t heard of this ‘most just extermination’ of Danes in Oxford at the instigation of King Aethelred the Unready in 1002, perhaps because the teaching of history in this country tends to kick off in 1066. You certainly don’t think of Oxford as a place that pioneered techniques of ethnic cleansing. Crypt is a collection of seven essays that unearth details about how certain people lived and died in the past. If you didn’t already know Alice Roberts’s background as an anatomist and biological anthropologist, you’d have a good chance of deducing it from this book. The old jibe that archaeology

Anne Carson, the celebrated Canadian-American poet, essayist and classical translator, is notoriously reticent about her work. She agreed to just these three sentences appearing on the cover of her first book in eight years: Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantanamo, Flaubert, snow, poverty, Roget’s Thesaurus, my dad, Saturday night. The pieces are not linked. That’s why I’ve called them wrong. Not only does this suggest the range of subjects explored but also Carson’s idiosyncratic, playful humour. Of course there are links between the pieces, and of course they are anything but wrong. Wrong-footed by the blurb, it’s thrillingly difficult to find one’s

‘Astonish me!’ was the celebrated demand that the impresario Sergei Diaghilev made of Jean Cocteau when he was devising Erik Satie’s ballet Parade. Dominic Dromgoole has taken it as the title for a collection of essays on a series of seismic first nights, ranging across different public art forms. It is a celebration of the artistic achievements that overcame the odds to change the story of culture, and whose effects rippled out to change the world. The author is a distinguished theatre director, and his focus is on performance. He is at pains to reject the notion of the solitary artist and argues that, from the dawn of history, the

Now is a difficult time to empathise with Russians – which is why we need Maxim Osipov. We need him to bring alive to us what it means to live in Putin’s Russia – how the system finds ways to crush all but a very few. Even more, we need him to remind us of the kaleidoscope of qualities that a country like Russia inevitably contains – the humanity and generosity as well as the stupidity and cruelty. An author of great subtlety, Osipov would no doubt wince at such grandiose claims for his writing. Yet when the world is deciding how to deal with the aftermath of Putin’s (eventual,

When asked what it is we do, translators often resort to metaphors. We liken the act of translation to performing a piece of music, taking on a role in a play, kissing a bride through a veil or building bridges between cultures. But as the peerless Norwegian translator Damion Searls has said, when we sit down to work ‘there’s no metaphor at all really. The metaphors are just for interviews, or for talking with people about what translators do’. In this series of passionate, thoughtful essays, Jhumpa Lahiri uses metaphors, and more especially Ovid’s Metamorphoses, to explore the nebulous, almost ineffable nature of living between languages. The book is also

I do not think I am alone in confessing that I had read critical works on James Joyce before I got around to reading him. As a schoolboy I drew up my own private curriculum, and one influential book was Malcolm Bradbury’s The Modern World, where I first encountered Joyce; and then moved on to Anthony Burgess’s Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader. Eventually I did read the actual work. All my teachers told me Ulysses was ‘mucky’. When they said that Finnegans Wake was even muckier, it slightly fritzed my brain when I finally got a copy. This year being the centenary of

For many years, Michel Houellebecq was patronised by the French literary establishment as an upstart, what with his background in agronomy rather than literature, his miserable demeanour, his predilection for science fiction and his gift for unyieldingly saying the unsayable, especially about relations between the sexes. That’s all changed now. He won the Prix Goncourt in 2010 for The Map and the Territory and in 2019 was elevated to the Légion d’Honneur. The Nobel cannot be long delayed, the committee after all having honoured the equally ornery V.S. Naipaul and J.M. Coetzee. Houellebecq’s new novel Anéantir, published in January in a luxury edition of 300,000 copies, was a quasi-official event

‘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 the Man Booker International Prize in 2013, is incomprehensible but because her work is often so short — a couple of lines or a couple of pages. It demands to be savoured slowly. Even when she writes at length, as she does in this hefty volume spanning 19 essays, her thoughts on literature and language

Jan Morris, in all her incarnations, was always able to evoke a place and a moment like no other. As James Morris, the only journalist to cover the first successful ascent of Everest in 1953, he described Edmund Hillary returning from the summit as huge and cheerful, his movement not so much graceful as unshakably assured, his energy almost demonic… It was a moment so thrilling, so vibrant, that hot tears sprang to the eyes of most of us. Morris, who died last year, was married to Elizabeth Tuckniss for 71 years and had five children, one of whom died in infancy. She transitioned to live as a woman in

It has to be one of the most extraordinary stories of lockdown — how Tom Hanks’s assistant Sooki Raphael, undergoing treatment for recurrent pancreatic cancer, came to be living in the basement of the American novelist Ann Patchett and her husband Dr Karl VanDevender. How it happened is told in the title story of These Precious Days, Patchett’s second collection of essays. Asked to endorse Hanks’s short story collection, Uncommon Type, and then to interview him on stage during his tour, Patchett first meets Sooki in the wings of a Washington theatre. Hanks, by way of reciprocation, agrees to do the audio recording of Patchett’s eighth novel, The Dutch House,

E.H. Carr’s 1961 book What is History? has cast a long shadow over the discipline. I recall being assigned to read it as a teen-ager, and it has prompted multiple reconsiderations over the years — as acknowledged by the editors in their introduction to this book. Reappraisals and conferences on ‘What is History?’ are launched with regularity. (One of the editors of this volume is Carr’s great-granddaughter.) Aside from the reappraisal of Carr’s original work, the fact that books like this continue to be produced in academic history says something about the slipperiness of defining it in the first place — and the discipline’s own anxieties. Over the past century

In the future, men enjoying illicit private pleasures with their intelligent sexbots might be surprised to find that even women made from latex and circuitry can learn to talk back and say no. Or, alternatively, that their ‘love dolls’ — in the current marketing-speak — have been hacked by anarchist feminist programmers. Please enjoy the next, cyborg-mediated stage of the war of the sexes. Some men, of course, still believe that women are inherently no good with computers, a dumb prejudice that Jeanette Winterson ably rebuts in this collection of interlinked essays, with stories from early computing history and several outbursts of amusing ire. Today’s tech-bro coders might be surprised

What’s so serious about a red nose? How should we analyse the ‘specific socio-historical relations’ and ‘aesthetic trends particular to geographic context’ of the circus? How can we ‘codify’ equestrian performance in the ring? With the publication of The Cambridge Companion to the Circus, this artform has tumbled out of the Big Top and into the library and lecture hall. It’s a recent arrival to lofty, learned spaces. When Vanessa Toulmin of Sheffield University, widely regarded as the world’s leading expert on circus and fairground history, first ventured into academia, she did so under the guise of an ‘early film historian’, as circus wasn’t regarded as worthy of study. Now

The late Derek Ratcliffe, arguably Britain’s greatest naturalist since Charles Darwin, once explained how he cultivated a technique for finding golden plovers’ nests. As he walked across the featureless moor, ‘the gaze’, he wrote, had to be ‘concentrated as far ahead as possible, not in one place, but scanning continuously over a wide arc from one side to the other and back’. Should you look down at your feet, or allow yourself to be distracted for a second, chances were that this elusive wader would slip off its eggs and you would never work out whenceit came. Reading Richard Dawkins strikes me as requiring a similar kind of disciplined attention.