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This week on Spectator Out Loud: Keiron Pim discusses what young Ukrainians can learn from the works of Joseph Roth (01:00), Miranda Morrison reflects on her decision to quit her job as a teacher (11:26), and Cosmo Landesman asks whether successful writers can be friends with less successful ones (19:39). Produced and presented by Oscar
As Russia’s assault on Ukraine continues, Volodymyr Zelensky’s ministry of education has just announced changes to the national curriculum that include removing almost all the Russian authors on the foreign literature syllabus. In last week’s Spectator, Svitlana Morenets revealed the new names: we see Robert Burns, whose inclusion may be a nod to Britain’s support
For two and a half years, as Britain adjusted from normality to the most disorienting collective trauma of our lifetimes, Will Ashon trawled the country for strangers’ stories. He wrote letters to random addresses, went hitchhiking, talked to the drivers and followed chance connections in pursuit of glimpses into other people’s lives. Once they had
The insomniac may come to dread the night’s solitude, but the next day poses the greater challenge. That’s when you are obliged to walk among the rested population and pass for one of them, when in truth most interactions are conducted in a state of self-doubting confusion; when harnessing one’s thoughts is like grabbing at
If you’re Jewish, or Jew-ish, or merely subscribe to the view that Jews should be trusted to recognise anti-Semitism rather than be accused of making false allegations to further their own malign agenda, the chances are you could do with a laugh right now. The resurgent far right’s threat feels frightening but expected, whether from
In his mid-forties Will Ashon realised he was adrift and confused, confronted by the situation Dante described in the Divine Comedy: ‘In the middle of our life’s path/ I found myself in a dark forest.’ Ashon’s dark forest was metaphorical to begin with — conscious of ageing, dis-satisfied with his career in the music industry,
In July 1915 the poet Edward Thomas enlisted as a soldier with the Artists’ Rifles, even though, at the age of 37, he had no obligation to do so. When his friend Eleanor Farjeon asked why, he scooped up a handful of earth and replied: ‘Literally, for this.’ John Lewis-Stempel’s new book is persuasive that
