The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Twilight, the witching hour — that tantalising moment on the cusp of day and night when everything seems strange, poignant and full of possibilities. It is a gift to the photographer, whose raw material is light: its shifting subtleties, its evanescence, its poetic potential. The V&A has collected in this exhibition the work of eight
There are many who might consider it an absolute crime that someone who would look so entirely delectable in a dirndl is instead about to hit the stage of the London Palladium draped from head to toe in a habit and wimple. Lesley Garrett, however, is so thrilled that she can barely contain herself. Other
It is a tribute to Pervez Musharraf’s powers of persuasion that after reading this book you’re not entirely sure which country he rules. Is it Pakistan or Fantasististan? The rational choice is Pakistan, but the country he describes belongs to another world altogether. Women are empowered, the madrassahs are being curbed, democracy is waxing, terrorism
When the second world war began, Nicholas Mosley, the distinguished novelist son of the fascist leader Sir Oswald, who thought that Britain should not fight Germany and whose second wife, Diana Mitford, counted Goebbels and Hitler as friends, was a 16-year-old schoolboy at Eton. ‘At this time,’ he writes in his new book, in which
For 16 years, from 1878, Blanche Wittman was a patient in the infamous Salpêtrière Hospital in Paris, diagnosed by the famous Dr Charcot as a hysteric. Putting Blanche on display in a cataleptic state, Charcot explained to audiences that he hoped to reveal, through her ‘a certain system, a secret code, which … could point
T. S. Eliot was happily married to Valerie Fletcher for years, but it is only his relationship with Vivien Haigh-Wood that people want to hear about. (‘My nerves are bad tonight. Yes, bad. Stay with me. / Speak to me. Why do you never speak? Speak.’) Lauren Bacall’s second husband was Jason Robards — but
Who did Evelyn Waugh call ‘the only living studio-master under whom one can study with profit’? Answer: Somerset Maugham. Surprising answer? Perhaps. Others judged him more harshly; Edmund Wilson dismissed him as ‘a half-trashy novelist who writes badly, but is patronised by half-serious writers who do not care much about writing.’ Actually Maugham took a
Seize the Hour is an admirable example of the storyteller’s power. From Homer to the great playwrights and novelists whose works we can hear or read repeatedly, the telling is all. Achilles pursues Hector around the walls of Troy; we know how it will finish, but like Homer’s audiences we want to hear it again.
It’s difficult not to warm to Mad Tracey from Margate (‘I like Tracey … I landed on my feet with that name’), the inventor of the Rothko Comfort Blanket for Private Views, however reluctant one may be to have one’s nose rubbed in other people’s bodily fluids and spiritual excretions. She famously staggered out of
At the end of his excellent introduction to Auschwitz Report, Robert Gordon invokes W.G. Sebald’s argument in his last book, On the Natural History of Destruction: compared to ‘natural histories’, e.g. contemporary medical reports such as this one, more literary texts ‘[know] nothing’. W.G. Sebald was one of the greatest thinker-writers of the 20th century,
Claire Tomalin is an accomplished biographer. While she recognises Hardy’s genius, this book is not an essay in literary criticism. With great skill and sensitivity she uses his poetry, novels and his extensive correspondence to illuminate the life of a man for whom she writes ‘the wounds inflicted by life never quite healed’. He never
Having It So Good follows hard on the heels of Dominic Sandbrook’s Never Had It So Good, which appeared last year. Both are doorstoppers — over 600 pages long — and the reader groans as he picks them up. Soon, no doubt, literary editors will be asking reviewers to weigh books rather than write about
Two great crime writers of our time — Ian Rankin and Alexander McCall Smith — talk about the terrible allure of bad deeds and the dark side of Edinburgh AMS: Let’s talk about Edinburgh first of all. We both write about the same place, but in different ways. John Rebus’s Edinburgh is a relatively bleak,
It is a Monday morning, after a week’s run of Summer and Smoke, and following the example of Tennessee Williams I have just brewed myself a coffee pot of liquid dynamite, and sitting down immediately after breakfast I am hoping its pressure on my heart will stimulate this article. Tennessee Williams was a proud punisher
Regular readers of this column will be aware that I champion small exhibitions which combine judicious selection with sufficient breadth to give an adequate representation of the artist under discussion. With Adam Elsheimer (1578–1610) there is no choice: the fullest retrospective must needs be a small exhibition. An artist who worked slowly, suffered from depression
Dawson Carr is the approachable but authoritative curator of Later Italian and Spanish Painting at the National Gallery. Talking to him you soon sense a total engagement with his work. He was born in Miami and worked at the Getty Museum in Los Angeles for 16 years. Armed with a tape recorder I met him
My friend Mitch rings up. ‘Guess what my album of the year is?’ He is trying to fool me into suggesting Donald Fagen’s Morph the Cat, for Mitch and I are both Steely Danoraks of long standing. But I know he was a little disappointed by the album, and he knows I wasn’t. I can’t
Each time I see Shostakovich’s once controversial opera Lady Macbeth of Mtsensk I am impressed by what brilliant performances it seems to incite, fascinated by it dramatically and musically, but left unsatisfied by its unevenness and what I think is finally its incoherence. As far as productions go, it is hard to imagine that any
The recently concluded Kandinsky exhibition at Tate Modern was widely appreciated for showing how music influenced the artist’s move towards abstraction. Two concerts featuring seminal compositions by Schoenberg were held alongside talks which explained how abstract forms hit painting and music at about the same time. What was not so fully explored was the blissfully
I have never met George Monbiot, and I know nothing personally about him to his discredit. I have no reason to think that he is other than polite to shopkeepers, considerate to other road-users, fond of animals, a staunch friend, a sound family man, a respectful and affectionate son. I can only judge the keeper
The most affecting moment in Gordon Burn’s new book is only marginally connected to its subjects. Borrowed from Jackie Milburn’s autobiography Golden Goals, it takes in a long-ago Christmas morning when the future England centre-forward woke in the small hours to discover a new pair of football boots — the first ever allowed him —
That beautiful, untamed brunette (or was she a woman in Zee & Co.?) was once more fervid than Elizabeth Taylor in party mood. Edna O’Brien at the age of 73, however, is a circumspect Titian, with a porcelain complexion and minimal maquillage. The rebellious country girl, who ran away from a village in County Clare,
In the great prize-giving of history, there are only two truly ‘bad’ kings of England: King John and James II. Or three if you count Ethelred the Unready. There is more argument about the ‘good’ ones, but King John’s brother Richard ranks high in most people’s pantheon, right up there with King Arthur and Queen
Shakespeare aside, there isn’t a dramatist whose work has proved more protean than Wagner’s. Patrick Carnegy explores the astonishing variety of interpretation it has provoked, in a book that has been long meditated as well as meticulously researched. It isn’t comprehensive —Wolfgang Wagner, Rennert, Wernicke and Lehnhoff are only a few of the significant directors
This is an even better book than the author’s erudite, dense and sprawling triumph of last year, Earthly Powers. With Sacred Causes, we are now in the present day, near enough — and that terrible, human, susceptibility to secular or religious ideologies possessed of unbending certitude, which in a way is Burleigh’s theme, should tweak
Adam Sisman begins his story of one of the most famous friendships in literary history with the vivid account of a young man who, having already walked 40 miles, takes a short-cut across a Dorset cornfield, running to greet two people working in their garden. The young man is Samuel Taylor Coleridge and the friends
This anthology is a sheer delight, full of good things. It gets off to a splendid start. On its dust- cover is a picture of a dog with a light bulb in its stomach; underneath is a gem from Groucho Marx: ‘Outside a dog a book is a man’s best friend. Inside a dog it’s
This is the sketchy diary of a 60-year-old woman with an amusing, runaway pen, written over 19 months. She is scatty, impulsive, open-minded and living cheerfully in Shepherd’s Bush, which never ceases to intrigue her (‘Today I saw a man standing on his head in the middle of the pavement’). Wide-eyed and aware of men,
Norman Davies is always at his best challenging received ideas and inherited perceptions, and the areas covered by these essays provide him with rich hunting-grounds for both. The title is misleading in that he ranges around Australia, California and Siberia, not to mention the Middle East, as well as Europe, and takes swipes at prejudices