Winston churchill

Sir Winston Churchill did not invent the prefab, but on 26 March 1944 he made an important broadcast promising to manufacture half a million of them to ease the new housing emergency caused by enemy bombs and the continued growth of inner-city slums. He went on to claim that these easy-to-assemble, factory-made bungalows would be ‘far superior to the ordinary cottage’. Readers of this richly illustrated, hard-hitting little book will find that Churchill was right. The new prefab — an early prototype immediately went on show at the Tate Gallery, of all places — did not meet the approval of George Bernard Shaw, who called it ‘Heartbreak House’ and that

Ivor Roberts-Jones was in many ways the right artist at the wrong time. Had the sculptor been born a few decades earlier and worked in the Victorian age, when statues of the builders and defenders of empire were erected proudly and prolifically across the land, he’d surely have received no end of garlands. As it is, Roberts-Jones (1913–96) found himself constantly battling against artistic fashions and today is barely even talked about. Born in the Welsh border town of Oswestry, he moved to London to study at the Royal Academy Schools and Goldsmiths College (the latter’s fame as a breeding ground for conceptual excess still a long way into the

Today, 23 April, the world celebrates the 450th anniversary of William Shakespeare’s presumed birth (and marks with less joy the date of the Bard’s death in 1616). That double date obscures another: the 99th anniversary of the death of a less celebrated Warwickshire-born literary lad, the poet Rupert Brooke. Brooke, like many of his friends and contemporaries, died in the First World War. But unlike most of them, he perished not in action, but as a result of septicaemia from an infected insect bite to his upper lip. En route to the bloody beaches of Gallipoli, he fell ill in Egypt, died on a French hospital ship moored off the

Land sakes! Another book about Winston Churchill? Really? Give us a break, the average reader may think. Actually though, as title and subtitle suggest, this isn’t just another biographical study. It’s at once odder and more conventional than that. More conventional because, in some ways, it is just another biographical study. Odder because — instead of being a straightforward discussion of Churchill’s literary work — it sees literature as the key to his biography. More than that, its author seems to think he has hit on a ‘new methodology’ in which ‘we can write political history as literary history’. Well, perhaps. At one end of that notion is the banality

What an unedifying affair the war in the North African desert was, at least until November 1942 and the victory at El Alamein. As the author of this brisk study of one of its more admired practitioners writes: In no particular order, the following were casualties [i.e. sacked]: Wavell, Cunningham, Auchinleck, Norrie, Ritchie, Lumsden, Gatehouse, Rees, Godwin-Austen, Beresford-Pierse, Dorman-Smith, Corbett, Hobart, O’Creagh, Ramsden and Messervy. There might well have been a separate desk in the military secretary’s department in London dealing with officers who had taken a fall in what was laconically referred to as the Benghazi Stakes. And it had all begun so well. In December 1940, 36,000 men

‘King of Iraq’ has an odd ring even to those who know that Iraq was called Mesopotamia and was part of the Ottoman empire before falling into and out of the clutches of the British. Many people, including Iraqis, seem unaware that it was a monarchy until 1958. Some 45 years after its overthrow, members of Iraqi families that flourished in those royal days launched ambitious plans to restore the monarchy after Saddam Hussein’s demise. One of them was Ali A. Allawi, the author of this first major biography of Iraq’s founding father, King Faisal (r. 1921–1933). Formerly a merchant banker in London,  Allawi moved to Baghdad in 2003 where

The centenary of August 1914 is still almost a year away, but the tsunami of first-world-war books has already begun. The government tells us that 1914 must be commemorated, not celebrated, and ministers worry about British triumphalism upsetting the Germans. But the debate about Germany’s responsibility for the outbreak of war in 1914 won’t go away. Historians are divided into those who blame Germany — John Rohl, Max Hastings — and those who point the finger at someone else, such as Serbia (Christopher Clarke) or Russia (Sean McMeekin) or even Britain (Niall Ferguson). The blame game is of course conceptually flawed. The international system in 1914 was seriously dysfunctional. The