The real meaning of the Budget
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As a child of the eighties, my primary school friends and I would spend every 31 October dressing all in white and heading to church. This gothic little tableau of deathly pallid eight-year-olds elicited bemusement from our mothers, and probably would have done from us too, had we given it a moment’s thought. I am mystified by the fact that costumes frequently appear to have absolutely nothing whatsoever to do with Halloween And yet we were not a bunch of macabre miniature Miss Havishams off to lie on gravestones like precocious disciples of Mary Shelley.
This week's magazine
The race to go private
Postwar Britain can be defined by a bargain made with its middle class: pay for public services but benefit from them too. Private education has always been the choice of a very small minority; private healthcare was reserved for the wealthiest and those whose employers paid for it. Middle England was content to send their children to the same schools as everyone else and use the same GPs, hospitals and dentists. This is no longer true. State spending continues to grow, yet large parts of the population now pay privately to supplement what their taxes have already provided.
Postwar Britain can be defined by a bargain made with its middle class: pay for public services but benefit from them too. Private education has always been the choice of a very small minority; private healthcare was reserved for the wealthiest and those whose employers paid for it. Middle England was content to send their children to the same schools as everyone else and use the same GPs, hospitals and dentists. This is no longer true. State spending continues to grow, yet large parts of the population now pay privately to supplement what their taxes have already provided.
The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
Authors hate it when reviewers refer to their book as a ‘weighty tome’ as it implies that the contents are going to be about as much fun as Deuteronomy. So I should make it clear that while Tim Hayward’s The Cocktail Hour (Quadrille, £20) is extremely weighty, that’s because the production values are off the scale. The monks at Lindisfarne could scarcely have put more effort into illuminating their work. And while the paper is heavy, Hayward’s writing is as refreshing as a perfectly made dry martini. There are hundreds of cocktail books out there, but none combine Hayward’s erudition, obsession and sense of humour. He is at once deadly serious and very, very funny. It’s the best book on the subject since Bernard DeVoto’s 1948 book The Hour.