Memoir

It was a relatively minor episode in a period marked by the killing of two African presidents, months of massacres in churches, schools and sports stadiums, a biblical exodus by much of the Hutu population, a cholera outbreak in refugee camps established in the neighbouring Democratic Republic of Congo (DRC), and a rebel takeover of the country. But it mattered a great deal to Beata Umubyeyi Mairesse, the author of this book, as she was one of the children evacuated in June 1994. At 15, she did not meet the criteria stipulated by the convoy’s organisers, so she and her mother hid under a tarpaulin sat upon by the smaller

Tsundokists of the world, unite! You have a new champion in Lucy Mangan, whose follow up to her entrancing memoir of childhood reading (Bookworm) is an unabashed paean to the pleasure of acquiring more books than you could ever possibly read in your life. That does not stop Mangan from trying, and this is a whirlwind tour through her voracious, encyclopaedic adult reading habit, one that not so much offers evidence of ‘how reading shapes our lives’, but how life shapes our reading. The ‘forced march’ of patriarchal school set texts in Mangan’s teens is relieved when she inherits a Maeve Binchy doorstopper and first encounters a book that is

Edmund White grew up in a world where sex, and gay sex in particular, was an unspoken reality. In 1950s Cincinnati, ‘no one “came out” except drag queens and the campy peroxided waiter at the diner’, he writes in the first chapter of The Loves of My Life. That blanket of near-silence doesn’t seem to have inhibited him much. He was sexually precocious from the age of 12, as his autobiographical novel A Boy’s Own Story (1982) first suggested. But it may account for the determined frankness with which he has treated sex in both his fiction and memoirs. For an author who came of age in pre-liberation America, erotic

Shortly before Bill Gates’s seventh birthday in 1962, his parents stuffed their son into a button-down shirt and blazer for a visit to Century 21, a bold showcase of scientific prowess in their home town of Seattle. This futuristic fair was intended as the nation’s rebuff to Soviet Russia following the Sputnik satellite launch, which sparked the space race. The family enjoyed the new 600ft Space Needle. They also saw the Mercury capsule that carried the first American into space; Ford’s concept of a six-wheeled nuclear-powered car; and IBM’s idea of a cheap computer, costing $100,000. Best of all in the boy’s view was rattling around on the Wild Mouse

Ah, the scents of one’s youth! What hot, sour teenage kisses and grinding youth club discos would be conjured up for me by one whiff of Aqua Manda or the original Charlie. Adelle Stripe has constructed a memoir around 18 key fragrances, one for each chapter of her life, but true perfume addicts may find ‘the juice’ somewhat lacking. It might just be scented scaffolding, but fortunately the story underneath is captivating. Dune, CK One and the rest do not trigger madeleine-like waves of memory for Stripe; neither is this a paean to the olfactory art. The perfumes crop up casually rather than crucially: her dairy farmer father’s ancient bottle

James Birch is a somewhat mysterious art dealer and curator, whose first great triumph was mounting a Francis Bacon exhibition in Moscow in 1988. He wrote a gripping book about that adventure, Bacon in Moscow, and has now written an even more gripping follow-up, about taking Gilbert and George to Moscow, Beijing and Shanghai. Mounting the Moscow exhibition meant getting drunk every night, but Birch carried it off with aplomb Birch was born ‘circa 1956’, according to Wikipedia, and grew up in Primrose Hill, London. Both his parents were artists and also communists, which he claims was not unusual in the 1960s (though I’d say it was, quite). At the

I was on the phone to a friend recently, who asked me what I was reviewing. ‘It’s a book by a lady intellectual,’ I began. ‘Oh my God,’ she said, ‘I hope you don’t put that in your review.’ ‘I’m not that stupid,’ I replied, ‘but it is very important that she’s a woman.’ A self-described radical feminist in the 1960s and 1970s, Vivian Gornick says that that flame has died down a bit now (she was 79 when this book was first published ten years ago). Her perspective in this meandering, delightful memoir-cum-essay is still, obviously, feminine – yet there is a kind of detachment; and from what she

We know of the Durrells mainly through their own writings, outstandingly My Family and Other Animals, about their years in Corfu in the 1930s, and from the image of them created by TV and film adaptations of this work. Gerald and Lawrence were the best known members of the family, the first as a zoologist and conservationist, the second as an experimental writer. Their siblings, Margaret (Margo) and Leslie, will always be perceived through the lens Gerald turned on them in My Family – the former as a flighty eccentric, something like an extra from a Carry On film, the latter as a pantomime villain. Their mother, Louisa, was loved

How can you break the mental manacles of an empire that has occupied not only your physical world but also your education, publishing, media, high culture and popular entertainment? In his endearing memoir of Odesa, Undefeatable, Julian Evans quotes the Ukrainian author Viktoria Amelina, who describes growing up in post-Soviet Ukraine surrounded by all things Russian. She attended a Russian school, acted in children’s Russian theatre, listened to Russian rock and prayed in a Russian Orthodox church: ‘There was an entire system in place that aimed to make me believe that Moscow, not Kyiv, was the centre of my universe.’ When she was 15, Amelina felt flattered to be invited

In The Brothers Karamazov Dostoevsky writes: ‘It would be strange in times like ours to expect to find clarity in anyone.’ Given where the times have got to in the intervening 140 years, one would suspect that clarity would be even further from us. The clarity we seek is generally externalised, about the world and its workings; that which is most hidden is about our personal histories and our families’ intergenerational legacies. Nightshade Mother is the Welsh poet Gwyneth Lewis’s quest for clarity – a memoir of excavation positioned between what the infant experienced and what the adult has sought to understand. Multiple narratives are in play: the voice of

Recollections of crimes, misdemeanours and shameful stories can pall, especially when viewed through the bleary-eyed lens of alcohol. But In the Blood, a memoir of devastating clarity – the result of an unprecedented collaboration between a mother and daughter whose alcoholic gene was ‘baked into them like a curse’ – provides a frightening insight into the labyrinthine workings of the addict’s devious mind.  The illness had run riotously through many generations until Julia Hamilton and Arabella Byrne both rejected what had ‘zig-zagged through [their] family like a knight in chess’. As though positioned on alternate sides of a mirror, Julia, now in her sixties, and Arabella, in her forties, debate

One of the joys of getting older is the appreciation of the solitary pint. But what to do as you sip your hard-earned beer? Usually after a suitable period of contemplation I’ll start fiddling with my phone. Not Adrian Tierney-Jones; he writes books, and his latest, A Pub for All Seasons (Headline, £20), is a poetic meditation on the public house, its history and place in our culture with some memoir deftly thrown in. Most of all it’s an appreciation of what makes a pub great: the layers accumulated by decades – centuries, sometimes – of human interaction. ‘The perfect pub,’ he writes, ‘is a kind of metaphysical palimpsest which