Literature

Six years ago, the publishers Hachette took the well-meaning yet preposterous step of making ‘sensitive text revisions’ to Enid Blyton’s classic Famous Five books. So ‘tinker’ was changed to ‘traveller’, ‘mother and father’ to ‘mum and dad’ and ‘awful swotter’ to ‘bookworm’. The suggestion that tomboy George needed ‘a good spanking’ became ‘a good talking to’, while girly Anne’s assertion, ‘You see, I do like pretty frocks — and I love my dolls — and you can’t do that if you’re a boy’ had its final clause removed, rendering the sentence throwaway rather than poignant. Unsurprisingly, given that all the charm had been stripped out of them, the revised editions

Centuries before their footballers learned giant-slaying ways, Icelanders knew how to startle the world with tall stories. In the moonscape that birthed Sagas and Eddas, little grew but epic tales. When this novel’s protagonist, the troubled poet-turned-publisher Ari, announces in an interview that he has given up authorship, his aunt Elin sends him a heartbroken letter. To see ‘one of our own’ write books, she writes, ‘made us feel almost as if everything had meaning’. Especially for a restless kid from the black lava fields of Keflavik, ‘this peculiar town situated behind the world’, where nothing happens and ‘it’s just work, just fish, the Yanks and the wind’. Those Yanks

There is an immediate problem for anyone producing a guide to places in Scotland with literary connections: as Walter Scott wrote in Marmion, ‘Nor hill, nor brook we paced along/ But had its legend or its song.’ Many years ago when the Scottish Borders was marketing itself as the ‘Land of Creativity’ I assembled a database of references which stretched to well over 1,000 entries — for example, the village of Yetholm crops up in a strange extended simile in Malcolm Lowry’s posthumous October Ferry to Gabriola. Then there is Scotland’s propensity for memorialising its own writers. The Scott Monument is only the most obvious example. Within a few miles

Children’s fantasy literature has never been just one thing. Animal fables, folk and fairy tales were not originally intended for a child audience, while the relatively recent phenomenon that is entertaining (rather than principally didactic) children’s literature has many origins that are not fantastic at all. Michael Levy and Farah Mendlesohn draw a line — well, many lines — from these assorted beginnings to today’s world, in which fantasy specifically aimed at young readers is a large and noisy part of the publishing market, but still very far from a single coherent one. Much of the category’s mutation over the centuries can be explained contextually: political pressures, economic changes, advances

The author of this jam-packed treasure trove has been a film critic at the New York Times since 2000 and is also professor of film criticism at Wesleyan University. As if these platforms weren’t enough, he’s now written a book about the tangled worlds of films, books, music, paintings and criticism, dragging in Aristotle, Pope, Plato, Matthew Arnold, Isaiah Berlin and millions of others — but not, alas, my former next-door neighbour, the wonderfully controversial Brian Sewell. Crammed in alongside George Orwell’s ‘All writers are vain, selfish and lazy’ and H. L. Mencken’s ‘Literature always thrives best in an atmosphere of hearty strife,’ the author’s own views often hit hardest.

It is hard to explain the contents of Karl Ove Knausgaard’s vast series My Struggle because not much happens. Or rather: a lot of things almost happen. In these strange and unquantifiable books, which feel like a spiritual autobiography but read like trashy fiction, Knausgaard recounts his ambiguous relationships with his brother and parents and wives; he describes terrible-sounding meals which he cooks (he eats a lot of pasta with dubious sauces) and the rambling, incomplete conversations he has with acquaintances. He discusses books he has read and books he would like to write. He goes out, meets girls, gets drunk, feels sorry for himself, and then goes back to

‘Pray don’t talk to me about the weather, Mr Worthing,’ pleads Gwendolen in The Importance of Being Earnest. ‘Whenever people talk to me about the weather, I always feel quite certain that they mean something else. And that makes me quite nervous.’ Weatherland would make Gwendolen very nervous indeed. Our observations of the sky, Alexandra Harris reveals in this extended outlook, have always meant something else. Weatherland is a literary biography of the climate. Beginning with the Fall (in the Biblical rather than the autumnal sense) and ending with Alice Oswald, Harris condenses 2,000 years of weather ‘as it is recreated in the human imagination’. It is the weather-consciousness of

Well, as a mere PR exercise, the Baileys Women’s Prize for Fiction, awarded last night, has done really well, what with the American woman from Diageo (owner of Baileys) causing Ian Hislop to fall asleep while standing up during her speech. I haven’t a clue whether Ali Smith’s book, How To Be Both, about sexuality-shifting, is any use, though I am still recovering from reading last year’s winner, Eimear McBride’s A Girl is a Half-formed Thing, which is sort of James Joyce, only with really gross stuff about sexual abuse. It’s nice and short though. Two questions to ask about the prize. One, why was Shami Chakrabarti, director of Liberty,

If Mary Wollstonecraft, as she once declared, ‘was not born to tred in the beaten track’, the same with even greater reason could be said of her daughter Mary Shelley. Not only was she the child of the author of A Vindication of the Rights of Woman, she was also the daughter of William Godwin, the radical political philosopher. Given this auspicious pedigree, it is perhaps not surprising that Shelley would lead a life every bit as daring as her mother, and in Frankenstein produce a masterpiece of equal fame. A joint biography of this most famous mother/daughter combination is, therefore, a good idea. Despite the fact that Wollstonecraft died

Why increase the number of suicides? Better to increase the output of ink! wrote Vladimir Mayakovsky in 1926 in response to the death of a fellow poet. Four years later, aged 36, he shot himself. What drove the successful author, popular with the public and recognised by officialdom, to suicide? Bengt Jangfeldt provides some clues to this question in his detailed, source-rich biography. Mayakovsky came to poetry as a Futurist, co-authoring the 1912 manifesto A Slap in the Face of Public Taste, which granted poets the right ‘to feel an insurmountable hatred for the language existing before their time’. That the new era demanded a new language was a principle

One fine day in June 1896, a lone Russian nihilist visited Leo Tolstoy on his country estate. Come to hear the master, the stranger questioned Tolstoy about his latest beliefs. Satisfied, he left later that day. But then he returned with a written confession. He was an undercover policeman, sent to check on what Tolstoy was up to. Deeply ashamed of his deception, he begged for forgiveness. This vignette, recounted by Alexandra Popoff in her new book about Tolstoy’s later life, perfectly captures the author’s power. Whether through his fiction or radical Christianity, Tolstoy could fascinate and compel in equal measure. Though the government spy was dismissed for his bungling,