Culture

The spy writer Mick Herron’s Slough House series of comic thrillers has steadily established him as perhaps the most influential author in the genre since Le Carre. The latest in the series, Joe Country, is out now — and we thought to celebrate its publication with another opportunity to listen to my conversation last year with Mick — when London Rules came out -- about Slough House, slow horses and his unkillable, curry-stained antihero Jackson Lamb. Normal post-holiday service will be resumed next week with a box-fresh podcast featuring Lemn Sissay.

Two words may pique the reader’s interest on the cover of this timely, panoramic history of Europe by the distinguished writer on human migration Peter Gatrell: ‘unsettling’ and ‘1945’. Why unsettling, and why choose the end of the second world war as a turning point? By the close of dramatic Part I (‘Violent Peacetime, Cold War Rivalry, Rebuilding Europe 1945–1956’), we have gained detailed insight into just how demographically, economically, politically and psychologically shattered — and geographically unsettled — Europeans were in the decade after 1945.

Even books editors have to go on holiday sometimes, so Spectator Books is taking a hiatus for a couple of weeks. But so there's not a gaping gap in your life where the podcast used to be, we're bringing out some of our favourite episodes from our archive. This week, I am joined by the critic Alex Clark and Damian Barr — memoirist and host of the Savoy’s Literary Salon — to talk about summer reading. What do you take? What do you regret taking? Kindle, dead-tree or — 19th-century-style — cabin trunk full of books sent on ahead? Our discussion yielded a host of recommendations — from the brand new to the reliable old friends — that we hope will help you plan your own travelling library.

Now, how shall I start this review? I loved this book. I really did. (Too abrupt.) I loved this book, I really did. (Too rushed.) I loved this book: I really did. (Too planned.) I loved this book — I really did. (Too afterthoughty.) I loved this book... I really did. (Too uncertain.) I loved this book; I really did. Ah, that’s more like it. The semicolon gives me the best of both worlds. It helps me pause, and have a think, and yet pushes me forward to what I want to say next. It separates and unites simultaneously. It does a job that no other punctuation mark does. And the way to see this is to develop a sense of the contrast. What happens if we punctuate a sentence differently?

In this week’s books podcast, we’re getting Romantic. I’m joined by the writer Adam Nicolson and the artist Tom Hammick to talk about their new book The Making of Poetry: Coleridge, Wordsworth and their Year of Marvels. In it, Adam describes how — inspired by Richard Holmes’s 'footsteps' approach — he attempted to imaginatively inhabit the worlds of Coleridge and Wordsworth in the crucial year in the late 1790s when they lived near each-other in the Quantocks in Somerset. That meant, for him, living in the same landscape, walking the same paths, reliving the struggles with lines of verse in manuscript.

Anyone picking up a book by Wendell Berry, whether it be fiction, essays or a collection of his lucid and engaged poetry, will quickly find themselves in the company of one who is unafraid to tackle the larger subjects (time, place, environment, community) in terms familiar to Virginia Woolf’s ‘common reader’, a creature who seems scarcer by the year, but is not yet wholly extinct. Stand by Me is no exception and, by the time we reach the second of these 18 linked stories, we know just where we are, if not where we are going, as Berry sets out a history of everyday life in a small Kentucky town over 100 years of growth, loss and relentless change.