Culture

Culture

The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.

Simple, spray-painted slogans

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An awful lot has happened since the Canadian journalist Naomi Klein shot to radical prominence with the publication of No Logo, the first sacred text of the anti-globalisation movement, shortly after her co-religionists besieged the 1999 world trade talks in Seattle. They went on to wreck the World Bank/IMF meeting in Prague and, less successfully, to try to disrupt the G7 Genoa summit in July 2001, though we now know that the extraordinarily heavy security which thwarted them at Genoa was primarily designed to ward off murderous Al-Qaeda terrorists, rather than paint-spraying, slogan-chanting anti-globalisers.

A damned dark dozen

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Indelible Acts is A. L. Kennedy's first book of fiction since Everything You Need, which was followed by a spell of suicidal desperation. We know all about that from On Bullfighting, her patchily received foray into the world of the matador which was only partly about matadors and partly about herself and her suicidal desperation. With fiction it's different, of course; you're not supposed to confuse author and content or to assume any link. Still, whatever the state of Kennedy's mind and emotions now, the predominant quality of these 12 stories - the common denominator - is, sad to say, gloom. And not always an interesting gloom at that. The Kennedy gloom tends to have a deep-seated, almost predetermined feel that makes it very hard to shift, let alone see through.

. . . and truncheons and snowdrops

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Alistair McAlpine, one-time treasurer of the Tory party, is not a conventional fellow. A picker up of unconsidered trifles, he has in his time collected truncheons, chickens and snowdrops. He gets crazes and then he moves on: whole collections go under the hammer. 'No object or painting has such beauty that I could not bear to part with it,' he writes. Eclecticism is his game. In his houses, the beautiful and the strange come and go, but in Lord McAlpine's head he keeps the oddities that have appealed to his mind. Rich men can go anywhere, whenever they like, and the insatiable curiosity of this one has taken him all over the world. If the mood seizes him, he can hop on a train in the south of France at dusk and be in Venice by dawn.

Skeletons of mermaids . . .

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Private collections of miscellaneous oddities, valuable works of art and all sorts of objects, animal, vegetable and mineral, of little if any apparent intrinsic value, are collectors' emblems of the world in miniature, microcosmic claims to the whole macrocosm. This splendid book, elegantly analytical and lavishly illustrated, makes the collectors' obsession understandable to the point of envy. How convenient it would be if all possible books could be comprehended in that hypothetical single Borgesian volume, and how gratifying it would be to own it. The truly dedicated proprietors of cabinets of curiosities seemed to aspire to nothing less, as Patrick MauriŒs demonstrates with fond sympathy.

Some very cross references

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Mr William Donaldson, the most subversive and mischievous Englishman since Titus Oates, started his literary career with Both the Ladies and the Gentlemen, a DIY guide to brothel-keeping and the choreography of orgies. He extended it with the Henry Root Letters, in which, posing as a demented if upwardly mobile fishmonger, he entered into a correspondence with the great, the good and the gullible in public life, flattering them outrageously, even trying to slip them the odd fiver. And they, Mrs Thatcher (who kept her fiver), Esther Rantzen, and President Zia-al-Haq, innocents undented by humour, wrote back. Donaldson published the lot and held them up to ridicule. But why?

Beating the Wet Blanket

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I am not an avid television watcher, so I did not tune into Who Wants to be a Millionaire? for about a year, but when I finally did, like nearly half the nation (19 million viewers at its peak) I was gripped. At the time I was also rather poor and thinking of going to live in France. Night after night, in an atmosphere vibrating with tension, huge sums of money were being won on questions that were no harder than Trivial Pursuit, and the germ of the idea of trying to get on began to lodge in my mind. 'How vulgar!' said my inner Aunt Agatha. And I would read about the 5,000 telephone lines which were open 24 hours a day, the tens of thousands of people trying to get on and one man on the programme said he'd rung 400 times. 'Pointless and hopeless' said my inner Wet Blanket.

Servant of a theory

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During the Cuban Missile Crisis, President Kennedy read Barbara Tuchman's August 1914. As President George W. Bush prepares for a second Gulf war, he apparently is reading Eliot Cohen's Supreme Command. Kennedy would have had more fun. Tuchman is a better read than Cohen. She also advances what proved in the circumstances to be important advice: leave the subordinates to deal with the telegrams while the boss keeps a clear head to decide for peace or war. Curiously, the episode itself produced a book still eminently valuable to a statesman in crisis, Robert Kennedy's Thirteen Days. It tells how Bobby, as chairman of the Executive Committee, spared his brother Jack the confusions that helped to drive Europe into the first world war. There is a strong case for arguing that George W.

Overdone and undercooked

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This is a hopeless mishmash of a book. It is over 600 pages (736 with the notes), and it only covers a mere 24 years of its subject's life. Some reviewers would say that it was badly written, but the trouble is, it isn't really written at all. It is hurled together, without any apparent distinction between what might or might not interest the reader. Episodes of supreme importance in the subject's life are given less space than such things as the film reviews he dashed off (with increasing distaste for the task) for the Evening Standard. One does not mean to be unkind about the author, who has devoted more than 25 years to writing Betjman's life.

The reign of King John

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When, in these pages, John Birt expresses wonderment at how the boy from Bootle went on to become the 12th director general of the BBC, to enter the House of Lords and be an adviser to the prime minister it is a sentiment shared by many. The clue probably lies in the brutal Irish Christian Brothers school he went to, St Mary's in Liverpool, where beatings with the strap were carried out sadistically every day. The boys even had a name for it: Strapology. A fellow pupil at the school has since said that as a result it tended to produce authoritarian figures who also knew how to be submissive towards the masters to avoid punishments. In other words, people who knew how to creep.

So near and yet so far from the target

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High on the teetering list of all the things that, down the long arches of the hacking years, have dissuaded me from trying to cobble a novel is the dreary business of describing how the characters look. You have a picture of this person or that in your head, and your reader, having coughed up his £15.99, has every right to know what so-and-so looks like when he or she walks into a room, feels cheery or glum, gets on top or underneath this or that other person, eats his dinner, rides a horse, lands a fish, strangles his landlady, or any of the hundred-and-one things a character has to do in the course of 300 pages, but how can you be certain that the reader is getting the image as precisely as you intend?

Christmas Books I

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Rupert Christiansen How embarrassing. The authors of the four books I have most relished this year - Nicola Shulman's elegant monograph A Rage for Rock Gardening (Short Books, £9.99), Virginia Nicholson's exuberant Among the Bohemians (Viking, £20), Giles Waterfield's brilliant satire The Hound in the Left-Hand Corner (Review, £14.99) and Selina Hastings' fascinating biography of Rosamond Lehmann (Chatto, £25) - are all friends of mine, and the etiquette of this exercise therefore inhibits me from nominating them.

Verdict as open as ever

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Readers of the thrillers of the American writer Patricia Cornwell will find elements of her new book familiar but others oddly different. Her novels are fiction closely based on fact; Portrait of a Killer purports to be a work of fact but is founded on fiction. It supposedly unravels the mystery of Jack the Ripper, a name given by the press to the most notorious serial murderer in Britain, about whom virtually nothing is known. Cornwell squarely lays these atrocious murders of East End women in 1888 at the door of the painter Walter Richard Sickert (1860-1942). When this story first broke on US television late last year, Cornwell said that if she were to be proved wrong 'not only will I feel horrible about it, but I will look terrible'. These may well be prophetic words.

The longing to be liked

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This cracking book is missing something and the want is telling. Jeremy Paxman virtually discounts the possibility that people might go into politics driven by ideas or conviction. These being the spur politicians routinely claim, Paxman's study becomes a detective hunt for ulterior motive or unacknowledged greed. 'This fellow says he wants to make the world a better place, but let us find out what he's really in it for' is the gist.

The man who hated being typecast – and was

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Whenever, searching through the television channels for something worth watching, I come across a Dad's Army repeat I invariably stay with it. The series has not dated, partly perhaps because it was dated when it started. Few of us who were young in the 1960s had clear memories of the Home Guard and many of the plots could have come straight from an old Will Hay film. Yet the interplay between the characters has remained unsurpassed. And the lynchpin is the great Arthur Lowe. Captain Mainwaring remains a superb comic creation. A pompous, narrow-minded petty tyrant, he is not an obviously attractive character.

His biting is immortal

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If Harold Pinter's plays are about the weasel under the cocktail cabinet, Matthew Parris's autobiography is about the butchered segment of electrical cable that lies on the dusty roof of the throne of the Speaker of the House of Commons. For several decades this piece of copper wire, unused, long-neglected, has rested above the heads of Bernard Weatherill, Betty Boothroyd and Michael Martin, and no one has noticed it except for the eagle-eyed former parliamentary sketchwriter for the Times up in the press gallery. It's the perfect example of a Parris observation. Take something grand, respected, highfalutin, like parliament, and show quite how lowfalutin and dull it really is.

Asking the awkward questions about history and us

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Art can raise our spirits, stimulate our intelligence and increase our knowledge; it is therefore disappointing that much of our arts writing is so impenetrable. Academics seem to address their peers and forget us; it is like eavesdropping on a private conversation carried on in a foreign language. Despite this, business is booming. In 1910 the RZpertoire de l'art et d'archZologie had a combined subject and author index of 4,000 entries; there are now about 30,000 entries each year, written by about 22,500 art historians and critics. Professor James Elkins provides these figures. He does so to illustrate that one of the problems with art writing is that there is too much of it, which is ironic coming from a man who publishes two books a year.

Point counter- point

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It was a Catholic priest - Dom Philip Jebb, the 'fighting monk' and later headmaster of Downside School - who introduced Richard Cohen (alongside, as it happens, your reviewer) to fencing in the 1960s - just one of the many ironies which this new and full history of the ancient art and modern sport of swordplay delights in. There can be few activities as old or varied as the disciplined exchange of two foes bearing sticks of steel trying to hit or kill each other. Depending on your era or intentions, fencing is an act of war, a mediaeval spectacle, a judicial device to establish guilt or innocence, a defence of honour, the murdering of your enemy and, of course, a way to woo women (those sexy German sabre scars). For some writers, swordplay is the perfect simile for life.

More debit than credit

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The people in Hanif Kureishi's short fiction are rarely in the first flush of youth. Adam, the bleary sixtysomething protagonist of the title story, soon allows himself to be talked into experimenting with a new physical frame. Even at 45, Rick, the focus of 'Remember This Moment, Remember Us', is darkly conscious of having fetched up 'on the wrong side of life'. To corporeal frailty can be added emotional mishap. Festooned with ex-partners, children seen at weekends, weighed down by complex domestic arrangements, the average Kureishi male can seem faintly dogged in his efforts to secure some private space amid the chaos of his fraught, middle-aged life.

How the Ming fleets missed Manhattan

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Gavin Menzies declares, he does not claim, that between 1421 and 1423 the Chinese discovered Australia, South and North America, and nearly reached the North Pole - in short, the world. He is 'certain' that if there hadn't been a disastrous fire in Peking's Forbidden City, killing the favourite imperial concubine and causing the emperor to lose interest in long-range exploration, 'China, not Europe, would have become the mistress of the world'. Furthermore, Mr Menzies suggests, had there been no fire New York might now be called New Beijing, and Buddhism not Christianity might 'have become the religion of the New World'.

Another good man in Africa

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INSIDE SAHARAby Basil PaoWeidenfeld, £25, pp. 200, ISBN 0297843044 Michael Palin is a decent chap, I thought, after bumping into him for a nanosecond at the Hatchards Authors of the Year party a few months ago. It was just long enough for the briefest exchange of desert tales before he was mobbed by growing numbers of the Palin Fan Club, at which point he faded from view and I was left wishing I had cornered him for longer. That was back in May, and this being October, it is time for the latest Palin tome to land in bookstores the length and breadth of Britain, for what could be a nicer Christmas present than this sleek volume from the man who brought us Around the World in Eighty Days, Pole to Pole, Full Circle and Hemingway Adventure?

Selling sex up the river

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Anne Enright is an Irish writer with a startling gift for domesticating the outlandish. In her last novel, about twins separated at birth, she explored the sadness at the heart of tales of freakish sameness. In her latest, based on the true story of a 19th-century Irish concubine, deranged appetites are passed off as endearing peccadilloes. The novel opens like an arty French film, with some rhythmic coupling in a Paris flat. Eliza Lynch, an 18-year-old beauty with a chronic clothes habit and a pragmatically carnal relationship with her dressmaker, is intent on pleasuring Francisco Solano Lopez, a visiting South American with absurd manners and extravagant tastes. He is the heir-apparent to the dictatorship of Paraguay, she is a black-eyed hussy on the run from a prudent marriage.

The incomparable and inexplicable

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THE ILLUSTRATED ZULEIKA DOBSONby Max Beerbohm, with an introduction by N. John HallYale, £9.99, pp. 432, ISBN 0300097328 Max Beerbohm wrote a tale called The Happy Hypocrite, a reversal of his friend Wilde's The Picture of Dorian Gray. It's about a rake who puts on a saintly mask in order to win the love of a pure girl. When his mask is torn off, his former, dissolute face has become saintly underneath. The man has become his mask. One is reminded of this story while reading N. John Hall's Max Beerbohm: A Kind of a Life because readers of N. John Hall's previous work will find him revealed here in a completely new aspect. Which is the real N. John Hall? Happily and unhypocritically, the answer has to be: both. Professor N.

The everlasting power and glory of the shared table

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From Apicius to the Ivy: Roy Strong, the possessor of 800 cookbooks, has written a fascinating and scholarly study of social eating from Greece to the 21st century, a single-volume synthesis of the most significant work published in various countries and various languages over the last two decades, polished with style, bibliographical knowledge and an ability to spin a subject. His first book of this genre, which I remember reviewing for The Spectator, was Art and Power, a study of Renaissance festivals. This should perhaps be subtitled 'Power Dining' since its main theme is eating, food and etiquette as a demonstration of political and social power, the principal objective through the centuries being social exclusion not communal enjoyment.

Through whiggish spectacles

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The distillation of a vast quantity of historical material into a tolerably readable concentrate is a considerable skill, the historian's equivalent of good popular science, and the late Professor Porter manifestly had that skill. To produce a history of medicine, little more than 150 pages long, that is not a completely arid list of names is a considerable feat, though not one that calls for deep originality of thought, which was never the strong point of Porter's large, indeed manically enormous, oeuvre. A short history like this must have an organising principle, and the one that Porter chose was the Whig interpretation of history.