Humour

Death Comes For The Poets is an unliterary book with a highly literary subject. It’s usually done the other way around: exquisite quodrilogies about American car salesmen; towering works about bored wives in French villages. Here we have a thriller, but one written by two eminent contemporary poets in which poets are murdered in correspondent ways to their work. A man who wrote a collection called Stray gets torn apart by dogs. A womaniser who writes about oceans gets lured to his watery death by a beautiful woman. Is the murderer jealous of these poets’ reputations? or is somebody trying to create much needed publicity for the art? Luckily, there

Editor of Vanity Fair, Graydon Carter, is this week’s Shelf Lifer. He reveals a predilection for Herman Wouk, an in depth knowledge of certain sections of the Eaton’s catalogue and a fondness for a particular character in P.G. Wodehouse. What are you reading at the moment? Don’t Stop the Carnival by Herman Wouk As a child, what did you read under the covers? I grew up in Canada, where the nights end early, and a child’s day does as well. So pretty much all my evening reading was done under the covers. A lot of Hardy Boy mysteries. And the Eaton’s catalogue. For the lingerie ads. Has a book ever

‘The German sense of humour,’ Mark Twain famously observed, ‘Is no laughing matter.’ Although many Greeks, stretched on the Euro’s rack at Berlin’s behest, may be inclined to agree, Rudolph Herzog’s intriguing study of humour in and against Hitler’s Germany, Dead Funny: Telling Jokes in Hitler’s Germany, proves conclusively that the Teutonic funny bone, while it may be difficult to locate, definitely exists. Herzog, the son of the great German film director Werner Herzog, has written a book that is at once an anthology of German jokes current under the Third Reich, an analysis of their evolution as a weapon of resistance against Nazi rule, an insight into how Europe’s

Funny the ways you can learn about a book. Brian Jones of the Rolling Stones alerted me to one recently, 43 years after his death. I was at Somerset House for the exhibition of photos marking the band’s half-century, and one shot saw them leaving Heathrow Airport in 1966, bound for America. Brian, in a blazer whose stripes were quite shockingly vibrant (ten years later it would have felt perfectly at home on Ronnie Barker as he read the news), was carrying a book. A small, slim volume, its title was hidden away in a tiny font, but the photo had been blown up so large you could just make

Winning the Booker can do strange things. For one, critics tend to become noticeably shyer around authors with some bling in their trophy cabinets, hyperbole blunting their edge. But if ever there was a writer primed to dismantle automatic appreciation it is Howard Jacobson. Zoo Time, his first novel since The Finkler Question won the 2010 Booker Prize, does everything short of physically assaulting the reader to excuse itself from being a bland follow up. In fact, its very obnoxiousness is both its weakness and its strength. I must confess to both liking and loathing it, pushed between extremes depending on the subject matter. (Forget narrative, simply because there isn’t