Culture

It takes a bold author to open his book about ‘Guernica’ with a quotation from the Spanish artist Antonio Saura lamenting ‘the number of bad books that have been written and will be written’ about it. Fortunately, James Attlee’s study of Picasso’s superstar work of art is not a bad book and he builds on a solid cultural and historic understanding of the painting to collate 80 years of evolving reaction to it. Attlee begins in May 1937, when, at the height of the Spanish Civil War, the Spanish Republic commissioned Picasso to create a painting for its pavilion at the World’s Fair in Paris. They hoped the famous artist would help secure sympathy, funds and, significantly, political intervention in the Republican cause.

I spent part of the summer sailing around Ithaca and the Ionian Sea. It was a good reminder of how capricious Homeric weather can be. In the space of a few days the wind shifted dramatically to three different points of the compass — and none of them was the gentle westerly Zephyr that brought Odysseus and his men back to almost spitting distance of their homeland. Almost, because just as they approached, the crew became suspicious of the goatskin bag in which Aeolus had helpfully packed away the other hostile winds and let them all loose. Nick Hunt tries to track down a few of Europe’s more errant and potent winds. He starts with the homegrown Helm, which blusters across the Pennines.

He stood five feet seven in his boots — the same height as Napoleon and an inch shorter than Hitler. He had webbed toes, a grey face pitted by smallpox, a stunted arm, soft voice, yellowish eyes and an awkward rolling walk. He swore like a trooper, smoked a pipe, drank the sweet wines of his native Georgia, and was an avid reader of history, novels and Marxist-Leninist theory, marking the pages of the 20,000 books in his library with expletives scrawled with the same coloured crayons with which he signed mass death warrants and international treaties: ‘Rubbish!’, ‘Piss off!’, ‘Fool!’, ‘Scumbag!’, ‘Ha-Ha!