Paris

Early on in his introduction of nearly 60 pages, Owen Hatherley writes: ‘I find the Britain promised by Brexiters quite terrifying — xenophobic, paranoid, enclosed, pitifully nostalgic, cruel. But in much of the country that landscape never went away.’ One’s heart sinks. This isn’t even polemical; it’s just silly. The introduction, subtitled ‘What is a European city?’, continues to push the line until something like a position is reached: Britain is awful, Europe is wonderful. I was reminded of certain of my French, Italian and German friends who are excited by the new horizons of living anywhere but in their own homelands, which they find every bit as stultifying as

There has been much debate recently about what exactly constitutes ‘literary’ fiction. If the term means beguiling, gorgeously crafted novels that are assured of their place alongside other writers, reacting to, and taking pleasure in discussing them; that are aware of the world’s events and their impact on humanity; that have delicately drawn characters; and that range with ease from intense emotions to moments of high drama; and that use careful, subtle imagery, then C. K. Stead’s The Necessary Angel is all this and more. His previous novel, Risk, touched upon banking and Iraq, but was never overwhelmed by them. In this latest, Max, a lecturer from New Zealand living

‘Mid-century modern’ is the useful term popularised by Cara Greenberg’s 1984 book of that title. The United States, the civilisation that turned PR and branding into art forms, wanted homegrown creative heroes. In design there were Charles Eames and George Nelson with their homey hopsack suits and wash’n’wear shirts, their sensible Wasp homilies: a counterattack against imported — and often baffling — exotics from the Bauhaus. It was the same in fine art. Jackson Pollock (Jack the Dripper) was a roughneck from cowboy country in Wyoming who became a darling of the media, not least because of his readily reportable deplorable behaviour. And then there was Alexander Calder, not a

Virginie Despentes remains best known in this country for her 1993 debut novel, Baise-Moi, about two abused young women who set off on an orgiastically murderous road-trip round France. In 2000, she became notorious when she collaborated on the hardcore film of the book, which ran into certification problems, with Alexander Walker fulminating about the complete collapse of public decency. Despentes has now published some 15 novels altogether, celebrated in France as grunge or ‘trash’ fiction — and a polemical, erratically feminist, memoir, King Kong Theory, describing her own experience of rape and prostitution, and calling for a new aggression in female sexuality. When she was 35, Despentes (a pseudonym,

It’s quite a scene to imagine. A maniacal self-publicist with absurd facial hair takes off in what’s thought to be the biggest hot-air balloon the world has ever seen. Adoring crowds gather to watch the launch. He rises rapidly and sails off towards the clouds — but in due course the whole thing goes arse-up and he comes clattering to earth, narrowly escaping with his and his crew’s life. Never mind: the catastrophe is reported around the world and has made him even more famous than he was before. It was a ‘semi-unsuccess’. And within weeks he’s back planning another ascent in another giant balloon. As if to bear out

On 25 February 1980, Roland Barthes, the great French intellectual, was run over by a laundry van in Paris. He died from his injuries a month later. This book — Laurent Binet’s second novel — proposes that it was not an accident; that Barthes had just come from lunch with the Socialist candidate for the forthcoming French presidential elections, François Mitterrand, and that he was in possession of an extremely important document, one which gave detailed instructions on the seventh function of language. Of course, you all know that, as defined by Roman Jakobson, there are only six functions of language (among them the Performative — ‘I now pronounce you

At the start of this novella the protagonist, Thibaut, is ambushed by Wehrmacht soldiers between the ninth and tenth arrondissements. That the year in 1950 is not the strangest aspect, as he is rescued by the appearance of the Vélo, a bicycle-like contraption with a queasily organic prow. It is, in fact, a living version of Leonora Carrington’s 1941 sketch ‘I Am an Amateur of Velocipedes’. In this initially joyous, fundamentally chilling book, the art of the surrealists has been weaponised in the fight against Nazism. Surrealism billed itself as a liberation; now is it part of the Liberation. ‘New Paris’ is stalked by versions of André Breton’s ‘Exquisite Corpse’,