Literature

Last year I wrote an unpatriotic column for the Observer. I said that while American literary and journalistic frauds tended to be simple men, who lied and plagiarised to boast their reputations and earnings, British frauds were as a rule darker and nastier. The first piece of evidence was Johann Hari – whose exposure caused the greatest scandal my small world of “broadsheet” journalism had seen in years. Hari did not confine himself to making up quotes and facts to enhance his career. Night after night, he went on Wikipedia and defamed his many enemies under a variety of pseudonyms – I should declare an interest and state that I

Byron may have been mad, bad and dangerous to know, but how’s your knowledge of the rest of the Young Romantics? Are you a connoisseur of Keats, or a specialist on Shelley? Take this light-hearted quiz to find out how much you really know about this dazzling generation of English poets. There are four possible answers to the questions below, and one of them relates to Byron, Keats or Shelley. There’s a point for every correct answer, and some bonus points to be won as well, if you can spot a few Romantic red herrings I’ve hidden in here too… Answers should be emailed to dblackburn @ spectator.co.uk. The winner will receive a

The confirmation that bones found beneath a Leicester car park are ‘beyond reasonable doubt’ those of Richard III has launched a deluge of familiar puns. ‘A hearse! A hearse! My kingdom for a hearse!’ say numerous wags on Twitter. I wonder if Richard III would be remembered so widely today were it not for Shakespeare. The character of the play, who speaks some of the most famous lines in English, is descended from the portrait drawn by Sir Thomas More in an uncompleted history written at various points throughout the 1510s. Many historians argue that More wrote the book to please the Tudors. This is, it is said, why he drew on the work of Polydore Vergil,

It’s Friday at 10am in a remote field in Fife. John Burnside is taking his morning walk, whilst simultaneously attempting to conduct a conversation with me down a dodgy telephone line. Within seconds he’s speaking about a concept of happiness— or lack of it— that goes back to philosophers such as Nietzsche and Schopenhauer. ‘I’m in the middle of a remote country hill in Scotland, so the reception is not really that good, especially in bad weather like this,’ he tells me, fading in and out of coherence. As he begins to walk over to his house— and the reception gets slighty better— I’m beginning to picture an idylic, lush,

Poor Kate Middleton. In the royal tradition of artistic and literary representation, what defines her at this moment in time? The creepy feature on her wardrobe statistics in February’s Vogue? Or Paul Emsley’s even creepier official portrait revealed last week? Emsley’s Vaseline lens ‘Gaussian girl’ take on the future consort would have been appropriate had she the complexion of Doris Day, whose preference for the blurred lens was renowned. The fact we all know that Kate’s skin is like butter, her eyes sparkly, and demeanour jollier than her hockey stick makes her first official portrait instantly bewildering. Just imagine, though, if we didn’t know any of those things. Traditionally, we

I suspect I might not be the only one who finds it unnerving to be at the start of a year that features, so prominently, the number thirteen. 2013 – it feels like bad luck just to read it in my head, let alone say it aloud! But worry not, I have assuaged my fears by turning to literature. There are some remarkable books which make use of the number thirteen, making me think that this number can be better understood as a source of inspiration, rather than a bringer of bad luck. Most infamous must be Orwell’s 1984 with its opening line: It was a bright cold day in

The Costa Book Awards has made its own history tonight by selecting, according to its press release, an all women shortlist* for the first time. Here are the category winners, each of whom bags £5,000: 1). Mary and Bryan Talbot win the Costa Biography Award for Dotter of Her Father’s Eyes, a book that examines two father-daughter relationships: James Joyce and his daughter Lucia, and Mary Talbot’s relationship with her father, who was a James Joyce scholar. 2). Hilary Mantel takes the Costa Novel Award for Bring up the Bodies, the brilliant and demanding Booker winner about which quite enough has been written. 3). Francesca Segal’s The Innocents snaps up the Costa First Novel Award. It is

Find out which books PD James, Sam Leith, Susan Hill, Mark Amory, Barry Humphries and many more hate, then tell us about yours in the comments section. Craig Brown Which classic work do you think this comes from? ‘Her teeth were white in her brown face and her skin and her eyes were the same golden tawny brown. She had high cheek-bones, merry eyes and a straight mouth with full lips. Her hair was the golden brown of a grain field that has been burned dark in the sun but it was cut short all over her head so that it was but little longer than the fur on a

Sean O’ Brien was born in London in 1952. Shortly afterwards, he moved to Hull, where he grew up, thus firmly cementing an allegiance to the North of England: a subject he explores in much of his poetry. In these Collected Poems, that begin with his debut, The Indoor Park (1983), and end with his most recent collection, November (2011), O’ Brien displays his remarkable contribution to British poetry over the last three decades. Whether it’s in the post-industrial North of England landscapes that he uses as a milieu; or the more imaginative settings that weave in and out of history, O Brien’s poems are never afraid to speak about

The Chinese writer Mo Yan collected the Nobel Prize for Literature last night. In his acceptance lecture, he reiterated his view that a degree of censorship is ‘necessary’ in the world, and compared it to airport security. The comparison is utterly base. Airport security is a fleeting restriction on personal liberty; a social contract entered into freely by making the decision to travel by air. Censorship is a legal mechanism imposed on entire societies by a self-appointed oligarchy that maintains itself by persecuting and prosecuting individual transgressors. Mo Yan’s logic is as flawed as his apology is malignant. Having said that, his enthusiasm for censorship was quite restrained on this occasion: he told Granta recently that

Suzanne Collins, author of The Hunger Games, has announced that her next book will be a picture book. Rather than writing a follow-up dystopian adventure for her teenage readers, she has decided to engage with four-year-olds in Year of the Jungle, a story about how her family coped when her father spent a year serving in Vietnam. Collins is not the only staggeringly successful children’s author who has taken an unexpected step away from her fan base with her writing. Whereas Collins is turning to younger children, J.K. Rowling turned to grown-ups with her recent adult novel about provincial life, The Casual Vacancy. Many Harry Potter fans were disappointed. While

Giles Coren’s piece in the latest issue of the Spectator has caused a stir in the world of graphic novels (‘comic books’ to the uninitiated). He notes that two excellent comics, Days of the Bagnold Summer by Joff Winterhart and Dotter of Her Father’s Eyes by Mary M Talbot and Bryan Talbot, have been included on the shortlist for the Costa book awards. This is absurd, he says, because comic books are ‘their own thing’ and do not need a tweedy literary prize to justify their existence. As a regular reader of graphic novels, I say ‘Amen to that, Giles.’ However, some of the brethren seemed to have missed the argument.

There are quite a few candidates competing for the title of the first novel in English literature. You can make a strong case for Robinson Crusoe, published in 1719, or Gulliver’s Travels of 1726, or even – at a push – argue for Sir Philip Sidney’s Countess of Pembroke’s Arcadia, issued over a hundred years before, but one of the super-heavyweight contenders will always be Samuel Richardson’s 1740 novel-in-letters, Pamela. When it first appeared Pamela was as much of a sensation as the X Factor and Fifty Shades rolled into one, a genuine ‘multi-media event’ more than two hundred years before that phrase was even coined. Part of that impact

I was on a date once in Atlanta, Georgia. We decided on the theatre and there was only one show playing, The Skin of Our Teeth by Thornton Wilder. After a night time drive under the arms of blue mossed oaks we made it to Emory University and took our seats and the curtain rose on a Victorian living room. Cautiously, with a canine playfulness, from out behind a sofa, tromped a dinosaur. I kept thinking of this moment as I read Wilder’s first novel, The Cabala.  Originally published in 1926 before he became a renowned playwright, Wilder attempted the same tricks here. He interjects Keats, Virgil, and even incarnate

‘The line dividing good from evil cuts through the heart of every human being… This line is not static within us; it sways to and fro over the years. Even in a heart imbued with evil, it allows a small bridgehead of good to remain. And it permits a small niche of evil to survive even in the kindest of hearts.’ These words were written by Alexander Solzhenitsyn, seeking to explain why The Gulag Archipelago was necessarily ambiguous. But they also fit elements of the Savile scandal, which is being prejudged in increasingly black and white terms. Charles Moore’s observation that this grim affair is a ‘dreadful warning’ about the

Train Dreams, the Pulitzer nominated novella by playwright, poet and U.S National Book Award winning novelist Denis Johnson, is the life story of Robert Grainer, a man who ‘had one lover… one acre of property, two horses, and a wagon… [had] never been drunk… never purchased a firearm or spoken into a telephone.’ Born at the end of the nineteenth century and dead a year before the Summer of Love, Robert labours in the American West, cutting timber for railroad tracks and then, when he’s too old for that work, carting people’s possessions around the countryside. The book’s chronology is loose, or, rather, Grainer’s whole life comes at us at

Literary pseudonyms have been on my mind lately, for a couple of reasons. The first is Salman Rushdie’s revelation that he chose ‘Joseph Anton’ as his cover name when in hiding during his fatwa, in tribute to Messrs Conrad and Chekhov. The second (and brace yourself, because this is going to hurt like pluggery) is that my own literary alter ego, Charlie Croker, has a new book out. Why do writers use pseudonyms, and how does it feel to see a book you’ve written get published with someone else’s name on the cover? Strictly speaking this isn’t what happened to Rushdie. Joseph Anton was his actual pseudonym rather than his