Culture

In 1866, Dante Gabriel Rossetti visited a London print shop to buy a large canvas of a Renaissance street. He recognised that the bustling scene – black-robed clerics, bargaining merchants, black porters and children teasing a monkey, played out on a wide boulevard in front of a colonnaded row of slightly rickety houses – was Iberian, but could be no more precise. Only in 2009 did scholars identify the street as Lisbon’s Rua Nova dos Mercadores, painted in the late 16th century, and lost like so much of the city in the great earthquake of 1755. One of the many virtues of Edward Wilson-Lee’s fascinating, elegantly written book is to plunge us into that scene, and to follow a trail outward from this global city across Europe, to Africa, India and beyond.

Whatever one thinks of the government’s plans to send refugees to Rwanda, it was amusing to see this country’s left suddenly finding all sorts of reasons why only the UK – ‘a cake-filled, misery-laden, grey old island’ according to Emma Thompson, patron of the Refugee Council – would do as a final destination for these poor people. It was especially ironic that the place which the great and the good decreed unfit for humane habitation was a country of which liberals have historically approved: France. The phrase ‘French flu’ was coined in the 1950s to describe the cultural cringe of British progressives towards France as the source of all things civilised.

We’ve all met the sort of facetious oaf who orders any non-giggling woman to ‘Cheer up, love, it might never happen’. As Timothy Hampton grasps, enforced cheeriness feels about as much fun as compulsory games. His invigorating book about the quest for true cheerfulness in literature and philosophy dismantles the various ‘prosthetic or counterfeit’ versions of the real thing that bullies, bosses, self-help gurus and household tyrants inflict on their victims. Jane Austen’s heroines, as he shows, chafe against the elevation of cheerfulness into a ‘social norm’. It suffocates them like stays: ‘Thou shalt be cheerful, at least if thou art woman.’ For sound reasons, the prospect of cheerfulness fails to gladden many modern hearts.

Most histories of the United Kingdom fail to account for, or even acknowledge, just how unusual a country it is. One of the strengths of a history of Scotland within the United Kingdom is that it cannot avoid emphasising the sheer strangeness of Britain. It is a country quite unlike other European nations for it is, at heart, a composite state: a Union of four other nations creating a fifth which exists alongside – and sometimes above – its constituent parts. The tensions and interplay between these identities form part of Murray Pittock’s handsome new history. Although titled a ‘global history’ of Scotland, it is also, inescapably, a history of Britain itself, albeit one written from an ultra-northern perspective.

Take the Red Line north, heading out of St Petersburg, and you’ll eventually reach Courage Square on the city’s outskirts (if you pass Polytechnic you’ve gone too far). From there, it’s a brisk 20-minute walk along the birch-lined Avenue of the Unvanquished to Piskaryovskoye cemetery, home to some 186 mass graves and almost half a million civilians and soldiers who died during the 900-day siege of the ‘hero city’ during the second world war – or, as it’s known to Russians, the Great Patriotic War.

There is a concept in tech and innovation – branded by an expensive consultancy company, naturally – known as the Gartner Hype Cycle. Any innovation, be it NFTs (a means of owning ‘unique’ digital art), blockchains (the technology powering crypto-currencies like bitcoin), self-driving cars or wearable tech, will go through distinct (buzzword-heavy) stages before it is adopted by the mainstream. First, it will head to a ‘peak of inflated expectations’, before entering the ‘trough of disillusionment’. As people then work out what the tech might actually deliver it climbs the ‘slope of enlightenment’ to the ‘plateau of productivity’.

Shunned by his father and his peers because of his homosexuality, Édouard Louis (born Eddy Bellegueule in 1992) left his village in rural Normandy and moved to Paris, becoming the first member of his family to attend university. By his mid-twenties he had published three well-received autobiographical novels: about working-class machismo (The End of Eddy), his experience of sexual assault (A History of Violence) and the condition of the French welfare state (Who Killed My Father). In his latest book he turns the spotlight on his mother, revisiting ‘the succession of accidents that made up her life’. Monique Bellegueule had ambitions to train as a chef, but was derailed by teenage pregnancies and terrible relationships.