Culture

Roger Scruton is that rarest of things: a first-rate philosopher who actually has a philosophy. Unfortunately at times for him, that philosophy is a conservative one. But his personal loss has been our great collective gain. As his new book again demonstrates, over the years his has been one of the few intellectually authoritative voices in modern British conservatism. In 1980, at the outset of the Thatcher decade, Scruton wrote The Meaning of Conservatism, a book which reportedly blighted his academic career: it remains an embarrassment to the British Academy that he was not made a Fellow until 2008. Academia may be softening at last, as his various professorships at Oxford and St Andrews testify. Yet living by his wits has not served him so badly.

At the age of 75, the theatre director Michael Rudman has got around to his memoirs, their title taken from the mouth of Willy Loman in Death of a Salesman, the play in which Rudman once directed Dustin Hoffman to great acclaim. The author is also Felicity Kendal’s other half, making him a figure of envy for much of male Middle England. A tall ‘Texan Jew’ who went to Oxford, Rudman has quite a CV. He started at the Traverse in Edinburgh, where with the approval of the theatre’s chairman Nicholas Fairbairn he put on drugs and porno plays. An award-winning stint at the Hampstead Theatre followed, then a spell at the National Theatre. He later ran the Chichester Festival Theatre before going to the Sheffield Crucible.

It used to seem rather obvious that the world was full of evidence for God. These days, theologians no longer beat this drum — but some of them still give it soft little taps from time to time. Such tapping is what Rowan Williams is drawn to, now that he’s free of the obligation to dance around homosexuals and Muslims, so to speak. In this book, adapted from his recent Gifford lectures (a famous lecture series devoted to ‘natural theology’), he ponders the philosophy of language, and suggests that there is a deep affinity between how humans make meaning and how religious language makes sense. It’s a meticulously restrained and complex performance, as you’d expect — but worth straining to hear.

  On the Bust of Helen by Canova In this beloved marble view, Above the works and thought of man What nature could and would not, do, And beauty and Canova can! Beyond imagination’s power Beyond the Bard’s defeated art, With immortality her dower Behold the Helen of the heart! — George Gordon, Lord Byron (1788–1824) Precious Stones My Cherrystones! I prize them, No tongue can tell how much! Each lady caller eyes them, And madly longs to touch! At eve I lift them down, I look Upon them, and I cry; Recalling how my Prince ‘partook’ (Sweet word) of cherry pie! — Charles Stuart Calverly (1831–84) A Glass Collection Today I had a big surprise Uncle left me eight glass eyes.

I am nothing if not patriotic. Like most Americans, I am convinced that mine is the freest, most beautiful country on earth. But I cannot pretend to be happy that two of us have been shortlisted for the Booker Prize. When it was announced earlier this year that novels written by Americans — in fact, all novels written in English and published in Britain — would now be eligible for the award, I dismissed the news as a harmless gimmick. Now I am not so sure. Behind the fair-play, hands-across-the-border niceness of the committee’s gesture, I sense something else: masochism. The best evidence of this is a piece that ran last week in — where else? — the Guardian in which a panel named 15 American novels that ought to have won the Booker in their respective years of publication.

The first volume of Christopher Simon Sykes’s biography of David Hockney ended in the summer of 1975. The 38-year-old painter had just returned to Paris, where he was then living, ‘energised’ by the widespread acclaim that greeted his designs for the Glyndebourne production of Stravinsky’s The Rake’s Progress. Energy was something Hockney would need in the years ahead when the time he always wanted to devote to painting was frequently interrupted by side-projects such as stage design or an investigation into earlier painters’ use of the camera lucida, sudden passions for new technology, and the increasing demands of celebrity.