Travel

If you have read Iain Sinclair’s books you will know that he is a stylist with a love of language. You will also know that he has opinions to express and projects to promote or destroy: London’s Olympic park was one of his targets. He has lived in Hackney for much of the past 40 years and his previous book of that name was so provocative that Hackney council tried to ban him from giving a reading at a local library. He can be digressive to an extent that becomes challenging, as you would expect from a writer who long ago rejected the need for anything as banal as a

‘Goodbye to the Mezzogiorno’ was the first Auden poem that Alexander McCall Smith read in his youth. He discovered it in an anthology, and it puzzled him because he had not then visited Italy. A little later, Smith found Auden’s elegy to Sigmund Freud, and was enthralled by its promise that psychoanalysis frees people ‘to approach the future as a friend/ without a wardrobe of excuses, without/ a set mask of rectitude or an/ embarrassing over-familiar gesture.’ When Smith began his careful, systematic reading of Auden while living under civil war conditions in Belfast, he found the hostility, menace and anxiety of Auden’s pre-1939 poems attuned to his environment. The

This is probably not a book for those whose interest in Spain gravitates towards such contemporary phenomena as the films of Pedro Almodóvar, Barcelona Football Club or the fashion retailer Zara. Nor, as far as trains go, is it a volume for people fascinated by the engineering feats of Spain’s new high-speed AVE train system, which means that you can travel from Madrid to Seville in just over two hours, or from Madrid to Barcelona in less than three (rather amazing, when you recall that the old service used to take nine hours). Christopher Howse does not like high-speed trains. Even moderately paced express trains are too fast for him,

Geoff Nicholson is the Maharajah of Melancholy. The quality was there in his novels, it was there in his non-fiction book The Lost Art of Walking, and it’s there in the latter’s successor, Walking in Ruins (Harbour Books, £12.50). He savours the comfort to be gained from accepting decay as an inevitable part of life. Ruins are his muse. So he spends the book doing exactly what its title suggests. Locations include an abandoned Los Angeles zoo, now inhabited by two homeless men, a Sheffield housing estate whose road layout survives even though its houses don’t, and a desert town that’s been, er, deserted. Nicholson keeps finding shoes there, though

Clichés and travel writing, sadly, often go hand in hand. I look after the travel pages at the Daily Mail and have felt compelled to compile a list of banned words and phrases for writers. The list gets longer by the week. Because the Spectator’s Shiva Naipaul Memorial Prize for travel writing is underway, I thought I’d pull out my list again. Here are just a few of the offending words and phrases on it. I’m sure you can think of more. city of contrasts breathtaking jaw-dropping leaving the modern world behind chilled out pampering nothing but the sound of waves bygone era stunning (includes ‘simply stunning’) nightmare (includes ‘complete nightmare’, ‘total

No, they decidedly did not like us — this is true at least for the majority of the nineteenth-century British travelers to the New World. They came out of a sense of wonder, somewhat akin to the reaction of Thomas More who declared in his sixteenth-century Utopia that ‘nowadays countries are always being discovered that were never in the old geography books.’ Over the next few centuries, perhaps no emerging country west of the Atlantic would excite as much curiosity as the vast expanse of territory that would become known as the United States. It soon became manifest that, in expanding her geographical borders, the United States had staked out

Our unrelenting appetite for historical drama is fed by a ceaseless stream of novels and dramatisations – usually, these days, something to do with those naughty Tudors. Perhaps it is how my generation, dosed on pick n’ mix modules and special options (Industrial Revolution or Origins of WW1 anyone?), recovers lost ground. But it is unmediated history taken straight from the page that gives the real jolt. I recently acquired for the Bodleian a journal kept from 1813-1818 by the engraver and antiquary James Basire (1769-1822). His father was the more famous artist, closely associated with William Blake.  Nevertheless, the journal seemed worth having for all the right academic reasons.

‘Would you mind if I asked what your book is?’ She was in her late-thirties, with dark hair and a serious demeanour. Her reply to my question took a few seconds to appear, the short period in which a woman assesses whether the man sitting opposite her in a not-very-busy Tube carriage in the middle of the afternoon is or is not a weirdo. ‘Er … why?’ The words revealed a Spanish accent. They were delivered perfectly politely. ‘It’s just that I haven’t seen a book covered like that in ages.’ Since I was at school, in fact. The brown paper, which Ms Jubilee Line had folded into exquisite hospital