Notting hill

Familiar scenarios: Our Evenings, by Alan Hollinghurst, reviewed

There’s a certain pattern to an Alan Hollinghurst novel. A young gay man goes to Oxford. He’s middle class and riddled with suburban self-consciousness – a kind of complicated awareness of his non-posh failings and resulting subtle superiority. He meets another young man – possibly gay – who is posh. An intricate dance ensues of social slip-ups and huge townhouses in Notting Hill, bags of money and country piles. It’s a formula which can be transposed between Edwardian drawing rooms and 1980s parties with only the slightest changes. Sometimes our protagonist is the aristocrat himself; sometimes he even went to Cambridge. He’s always cultured – interested in poetry, theatre and

How the Rillington Place murders turned Britain into a nation of ghouls

‘You never seem to get a good murder nowadays.’ With this ‘fretful complaint’ George Orwell imagined newspaper readers bemoaning the decline of the classic English murder. Gone were the ‘old domestic poisoning dramas’ – a solicitor or dentist killing his wife in a quiet suburban home – which made the perfect News of the World spread to curl up with after Sunday lunch. In their place was an altogether more brutish type of murder committed by ruthless serial killers. Everyone seemed to want to peep behind the curtains of 10 Rillington Place Orwell was writing in 1946. Seven years later, one of the most notorious serial killers in British criminal

Calm down about the Notting Hill Carnival

There was recently a mass public party at which all sorts of offences were committed. As innocent attendees cut loose and jived, shadier actors took advantage. There was a burglary, a robbery, 19 drug offences, 26 acts of theft and no fewer than 30 acts of violence against individuals. There were also two sexual offences – shameful. What hell was this? Where did all this moral abasement occur? Must have been at the Notting Hill Carnival, right? Actually, no – it was at Glastonbury. Yes, at this year’s Glasto, famously the hangout of middle-class white folk who like rock, crimes were committed. In those tent cities, amid the thick haze

Tea and treachery: Sheep’s Clothing, by Celia Dale, reviewed

‘It was a nice way of living,’ huffs Grace, the fiftysomething anti-heroine of Celia Dale’s devilishly dark 1988 novel Sheep’s Clothing, republished by Daunt Books. Recently released from Holloway prison, and using a demure headscarf and twin-set as cover, Grace teams up with Janice, a former fellow inmate, to rob elderly women. Disguised as social workers, and armed with an illicit supply of sleeping pills, they are after pension money stashed under mattresses, trinkets in shoeboxes and polished candlesticks on mantelpieces. The victims, invariably women (‘even an old man could be surprisingly strong’) often welcome the thieves, happy to have someone to ‘talk at’ and a cup of tea made

I could have directed it better: Steve McQueen’s Small Axe reviewed

Unlike with every other BBC period drama series these days, I didn’t have to sit through Small Axe: Mangrove grumbling about the implausible and anachronistic diversity casting. Mangrove was the West Indian-owned restaurant in Notting Hill which, in 1970, became the subject for a landmark Old Bailey trial involving nine of its habitués on trumped-up charges of riot and affray. Though it gets much better once we’re actually in court, the first hour’s build-up is awfully slow. I fear writer/director Steve McQueen is to blame. He has an artist’s eye for the visual side of things: the look and feel of late-1960s west London — just as the Westway overpass

The guileful, soulful art of Khadija Saye

Gwyneth Paltrow has a new neighbour. On the same block in Notting Hill as Gwynie’s Goop store, with its This Smells Like My Vagina scented candles and must-have child-calming essential oil sprays, a shopfront has been taken over to display a poignant series of self-portraits by a rather different woman. Khadija Saye died three summers ago with her mother in the Grenfell Tower fire. Much of the 24-year-old artist’s work was destroyed in the blaze, including three tintype images from a series of nine called ‘in this space we breathe’. The other six were displayed that summer in the Diaspora Pavilion at the Venice Biennale in Saye’s first major international