Memoir

John Giorno, who died last year, was a natural acolyte: he needed a superior being to set him in motion. Part Beat, part hippy, part punk, he was a gay, sexually active poet who tells us that he loved to do it ‘endlessly’. He was therefore very popular among New York’s avant garde, many of whom were gay and passive: ‘I was young and beautiful and that got me what I wanted, and all I wanted was sex. I had all the money I needed; my parents gave me an allowance and paid my bills.’ Such boyish candour sets the tone of this memoir, which is a feast of exuberant

In Russian, the proverb ‘Ignorance is bliss’ translates as ‘The less you know, the better you sleep’. For those who experienced the worst of the Soviet Union’s terrors, this is not just a throwaway adage but a strategy for self-preservation. As Alex Halberstadt’s father — the son of one of Stalin’s former bodyguards — attests: ‘There is no more to be gained from sifting through the past than through cigarette ashes.’ Halberstadt, a Soviet-born American writer, doesn’t agree. Aged nine, soon after leaving Moscow with his family and defecting to the West, he began having a recurring nightmare in which he was chased by a ferocious bulldog, a dream that

A book about breaking confidences, not to mention friendships, rather begs the same in return. Reading Anne Applebaum’s brief memoir of the world going mad around her sparked a memory of my own. It is a couple of days after the Brexit vote, and several hundred of us have gathered in London for the memorial service of a recently departed friend. The ceremony was hardly over before Applebaum and her husband, the former Polish defence minister Radek Sikorski, started picking political fights with the other guests, including some very old friends. ‘Don’t go near Anne and Radek,’ one mutual friend said to me, signalling to the visibly furious couple: ‘They’re

What can we ever know about our family’s past? How do we love those closest to us when doing so brings us to the edge of insanity? Nicole Chung’s All You Can Ever Know and Sam Mills’s The Fragments of My Father explore both of these questions. Chung’s memoir takes on a sleuth-like quality as she describes the process of uncovering her birth family. Born weeks premature, she was put up for adoption by her Korean-American parents, who feared she wouldn’t survive. Throughout her childhood, the reasons behind her adoption were presented as solid and comforting: ‘The doctors told them you would struggle all your life. Your birth parents were

This is not a rip-roaring, gonzo gambling adventure. By page 66 this cautious, thoughtful author has still never played a hand of poker in her life. She has read, re-read, dissected and annotated poker textbooks. She has scribbled notes while trying to keep up with her power-walking mentor, the poker legend Erik Seidel, as he tells her she’ll need to develop the ability to be reckless. This is a swot’s progress, a fish-out-of-water experiment. It’s hard to imagine her taking on, say, Devilfish in Vegas. As she finally joins a charity tournament on page 115, I’ll admit to thinking, this had better go somewhere. And it does. Within 18 months

‘Grief is the price we pay for love,’ the Queen once wrote. This memoir is steeped in the pain of unpaid debt. ‘When you were nine, you had a pink coat that you loved so much you wore it all the time, even on the early morning flight to Tunisia,’ Gavanndra Hodge begins, talking to her younger sister Candy, who’s been dead for 30 years. ‘It was long and thickly padded and made you look like a flamboyant Michelin Man.’ Hours after that flight Candy is killed by a virus as inexplicable as the one currently causing hundreds of thousands deaths, and Hodge stares into her coffin, noting the strange

Nine cups of milky Nescafé Gold Blend a day; a low-tar cigarette smouldering; a hot-water-bottle always on her lap; the Times crossword almost completed at the Formica table; knitting on the go; and novels — she always read the last page first. She was one of that generation of women who didn’t go to university but were incredibly well-read and knew poems by heart. This was Kathleen, the mother of Nicholas Royle, novelist and professor of English at Sussex University. In a remarkable and moving memoir he has captured and preserved a loving, kind, impatient woman — and perhaps, with her, all of our mothers in the sweet predictability of

With more than a dozen acclaimed novels to her name, not to mention short stories, poetry, a memoir and a Booker nomination, you might think that Michèle Roberts could have counted on being published for life. But as so many ‘established’ authors know painfully well, in that ever-hungry-for-the-new world there’s no such thing as tenure. So when her latest novel elicits a lack-lustre response from her agent before being ‘sweetly’ but flatly turned down by her publisher, a stunned Roberts finds herself processing the humiliation in the only way she knows how — by writing about it. ‘My past successes counted for nothing,’ she mournfully observes: ‘There was only this

Some accounts of moving to the countryside are aspirational and inspiring, but this book is more of a ‘how not to’ guide. Within a few pages it’s clear that Tamsin Calidas’s decision to decamp with her husband to a tiny Hebridean island is highly ill-advised. They take on too much: buying a derelict croft, hoping to renovate the place and live self-sufficiently, with no farming experience. It’s not much of a surprise, especially to anyone with experience of life in the Scottish islands, when the relationship founders and her husband leaves. It’s a gripping start. Surely she won’t remain on the croft alone? Surely things can’t get worse? Astoundingly, both

Alexandra Shulman says that she had ‘no desire to write an autobiography’ — so instead she has written about her clothes, and given us some scintillating reading. For despite having edited British Vogue for 25 years, until she retired in 2017, Shulman’s relationship with fashion at times reads less like a love affair than a marital tiff. Take, for example, the bra, which is the subject of chapter three. ‘There’s a point in most women’s lives when shopping for bras is consigned to one of those special places in hell,’ Shulman writes, revealing that, aged 17, she gave up, and didn’t wear a bra again for 20 years. (‘It wasn’t

Imagine being on indefinite lockdown, imprisoned in a dark, underground, 6’ x 12’ cell, freezing in winter, boiling in summer and infested with cockroaches and scorpions. The bed is a narrow concrete ledge, where you can only sleep on your side. The toilet has no U-bend, and your cell, No. 13, at the end of a run of cells, receives all the waste and floodwater from the others. There are no windows. Aziz BineBine spent his young adult life there, 18 years from 1973 to 1991. His crime was to have participated unwittingly as a young cadet officer in an abortive 1971 coup against Hassan II of Morocco. He escaped,

Lamorna Ash came to the fishing port of Newlyn in south-west Cornwall to write a memoir. This is not unusual. There is a tendency, as old industries die, to watch them covetously and with awe; to paint them a paradigm of all that is lost. In the 19th century, fishwives posed for the artists of the Newlyn School on the quayside. Today, journalists are found at the Star Inn, which featured in Gavin Knight’s The Swordfish and the Star, buying pints for Ben Gunn, a ‘celebrity’ fisherman, for a tale. Ash is a woman who can lose herself ‘along the simplest of paths’. She immerses herself in the real Newlyn,

Recollections of My Non-Existence is the Rebecca Solnit book I have been waiting for. I was born four years after the American writer, and on the same continent, and much of what she describes in Recollections feels very familiar: the flamboyant gay scene of the 1980s, swiftly followed by the devastation of the Aids epidemic, the navigation through second-wave feminism, the men who constantly told us ‘what to do and be’ while they scrutinised our bodies. When Solnit was young, ‘nearly everyone who held power and made news was male’. I was fist-pumping by the time I got to: ‘We were trained to please men, and that made it hard

Pop music has always been, to those who love it, to some degree tribal or factional; fans like to carve out their own space. If you like X you can’t like Y. Punk and post-punk sharpened the divisions. I couldn’t stand Nick Hornby’s High Fidelity for a number of reasons, but it wasn’t helped by its older-brother’s snotty dismissal of pretty much everything that came after 1977, unless it was the latest record by some dinosaur which punk’s meteorite had somehow failed to wipe out. The film was much, much better in this respect. Pete Paphides, born in 1969, had an older brother, called Aki: and Aki’s tastes are much