Journalism

No one who flies into Afghanistan’s capital is left indifferent. In one of the many deftly drawn scenes in The Finest Hotel in Kabul, Lyse Doucet describes a snowy Hindu Kush on the skyline, the packed homes of the poor on the brown hills, a steep corkscrew descent carried out while firing flares, ‘bursting outward with white-hot fire’ to avoid missiles. Once safely on the ground, she decides to make her way to Kabul’s Intercontinental Hotel, drawn by ‘better telephone and telex links, food worth eating and a certain faded splendour’. Doucet, a deservedly respected journalist who is now the BBC’s chief international correspondent, made that first trip in the

I must say, calling a book Fires Which Burned Brightly promises much. At best, from the jaded reviewer’s point of view, an autobiography of delusional self-aggrandisement; at worst, a wild mismatch between the, well, incendiary language of the title and the potentially humdrum contents. It might have been dreamed up by a master satirist intending to inflict maximum damage to the reputation of that noted gentleman of letters, Sebastian Faulks. I once invented a novelist named Julian Sensitive, whose only claim to fame was an autobiographical novel called, after T.S. Eliot’s Prufrock, ‘My Trousers Rolled’. That was a crude joke compared with the hilarity inspired byFaulks’s title. As it turns

Food memoirs, as distinct from cookery books, and from the relatively new genre of ‘biographies’ of ingredients, used to fall into three rough groups: foraging, hunting or gathering food; producing or cooking food; and eating. Like the restaurateur Keith McNally’s recent I Regret Almost Everything, Michael Finnerty’s The Cheese Cure adds a fourth category, memoirs of those who sell or serve food. These foodie books often blur at the margins and merge at the borders but usually share the characteristic of being narrated in the first person – and if recipes are given they are often incidental. (Of course, many of these authors also write cookery books.) There is a

Sarah Byrne is covering her first war and, after a slow start, things are finally picking up. Sweating in her flak jacket and undersized helmet, the twentysomething British freelancer is aiming for a scoop. One of her contacts might be persuaded to arrange a visit to ‘terror tunnels’, the headquarters of a Palestinian network whose activities Israel cites as justification for bombing Gaza City. Fed up with ‘monkey journalism’, Sarah wants to move on from recycling press releases to proper reporting. At the same time, she keeps asking herself what she is doing here. Do these people dragging bodies from under the rubble of their houses need yet another ‘misery

It’s hard to classify this thought-provoking book – part memoir, part philosophical exploration, but mostly a deeply researched family history. And what a history that is. Tim Franks, born in 1968, has been a BBC reporter for almost two decades, and now presents Newshour on the World Service. So he knows how to tell stories about other people. But the events here concern himself, and many of them are heartbreaking, as he searches for an answer to the question of what comprises identity and to what extent we are products of our ancestors. Franks is descended from rabbis, including one who played a part in keeping Bevis Marks, the oldest

You know Mark Twain’s story. You’ve got no excuse not to; there have been so many biographies. Starting in the American South as Samuel Clemens, he took his pen name from the call of the Mississippi boatmen on reaching two fathoms. His lectures, followed by his travel pieces and novels, enchanted America and then the world. As a southerner, his principled stance against slavery gave him moral authority. The famous ‘Notice’ to The Adventures of Huckleberry Finn – ‘Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished’ – was swept aside, so that persons like H.L.

In 2023 Natasha Brown published an article taking the reader behind the scenes of two interviews that she had given to newspapers in Australia and Spain while promoting her debut novel, Assembly. The point was to expose sleight of hand in the resulting write-ups, to say nothing of shabby conduct more generally. One interviewer, eager for her ‘to admit that I was influenced by two television shows which aired after my novel went to print’, asked, a propos of nothing, if she had a boyfriend. ‘It’s not clear whether this question came from the creased printout he regularly consults,’ wrote Brown, acidly. Skewering journalistic pretension to authority is the main

Every government has its éminence grise.  The quiet, ruthless man (or occasional woman) operates in the shadows, only to be eventually outed when the boys and girls in the backroom fall out among themselves or when someone pens a memoir. Think Peter Mandelson, Nick Timothy, Fiona Hill and Dominic Cummings. The authors of Get In, both lobby journalists, have produced a detailed insider account of the rise of Keir Starmer, as seen through the eyes of those inhabitants of the political underworld whose names rarely surface in the public prints. In this case, the focus is on one alleged strategic genius, a man in his late forties with the memorable