Plagiarism

‘As anyone who has gleefully spotted a typo in a prestigious publication, felt a flicker of schadenfreude at a pompous critic’s downfall, or secretly enjoyed a literary scandal knows, it is possible to love books while delighting in their disasters.’ The sentiment expressed in Rogues, Widows and Orphans is familiar to this reviewer. Rebecca Lee, who has been an editor for two decades, knows very well how words ‘get good’ (to quote the title of her earlier book) and what happens when they go wrong. Her new work ‘offers a lick of every flavour of ick lit’, leaving the reader craving more. Errors and omissions in print have consequences for everyone involved.

One usually likes to think that scientists know what they’re doing. Here’s something that might shake your confidence. In bio-medical research, scientists often use cell lines. These are in vitro cells, originally taken from a human or animal donor, which can be experimented on to help develop new drugs or treatments. The problem is that, according to one review, in ‘at least 5 per cent’ of studies, the scientists have totally mixed up where the cells came from. This means that in at least one in 20 studies that were sent off for peer review the scientists were completely confused about the most basic element of their research. They thought, for instance, they were doing research on lung cells when they actually had pancreatic ones.

Sam Riviere has established himself as a seriously good poet who doesn’t take himself too seriously: his first collection, 81 Austerities, opened with an account of how he blew all the arts funding money awarded him, and his second, Kim Kardashian’s Marriage, is the only appearance of that august celebrity’s name in the distinguished Faber livery. Now we have his first ‘proper’ novel, following some experimental prose works. ‘Of course,’ as John Cheever wrote, ‘one never asks is it a novel? One asks is it interesting’, and Dead Souls is definitely interesting. It also fits the pattern of the poetry: this is a funny, even silly, but smart take on the literary world and the clash of commerce and creativity generally.

Robert Prowe has writer’s block. An Englishman reaching middle age, he lives in Berlin with his Swedish wife and their two young daughters: two prams in the hall, two enemies of promise. Having enjoyed some success with a collection of short stories, Robert has been commissioned to write a novel; but the submission date was 18 months ago and he now spends his mornings deleting, letter by letter, the few words he produced the day before. His stories had once come easily: they grew out of his quotidian world in the form of anecdotes passed on to him by friends, family and strangers in bars. But nothing around him will feed his present fiction and he is fast fading out of his own life. ‘R U ALIVE?’ asks his agent.