Culture

In the Zhuangzi, a collection of tales attributed to the eponymous 4th-century BC Chinese philosopher, a frog that lives in a well boasts about its comfortable way of life to a visiting sea turtle. When the turtle describes its own existence in the vast expanse of the ocean, however, the frog has no idea what to make of it. The story is, of course, a humorous parable about typical human limitations and the possibility of stepping beyond them. But it could serve almost as well as an introduction to Ed Yong’s new book, which confirms in rich detail what Zhuangzi intuited: the nature and range of different forms of animal perception is astounding, and a greater appreciation of them has the potential to enrich human life.

If MI5 had a Cold War file on you – paper in those happy days – it didn’t mean they thought you were a spy. Nor even that you were especially interesting. Files were a means of storing and retrieving information. They could be general subject files or personal files (PFs) relating to individuals. Some PF holders were secretly investigated, but many were merely monitored – i.e. information about them was collated until it was clear there was no need for further investigation. Following their seizure of power in Russia in 1917, the avowed mission of the Soviet government was to foment worldwide revolution in order to impose communism. MI5 was tasked with investigating, monitoring and – within the law – preventing subversion.

Has there been a better novel this century than Ottessa Moshfegh’s My Year of Rest and Relaxation? There might not have been. The book was a hit when it came out in 2018 and had a second wind during the pandemic, when readers found themselves ‘resonating’ with its cabin-fever plot. Not that there was much plot: the novel follows a beautiful young woman marooned in her New York apartment, where she mainly watches TV and pops pills like they’re Pringles. There’s more plot in Moshfegh’s latest novel Lapvona. We’re not in contemporary America any more but in somewhere like medieval Europe, and the characters aren’t ‘prettier than Sharon Stone’ but proper old-school mingers, all tooth and gangle and belly.

Mark Vanhoenacker dreams of my nightmares. Ever since he was a young boy, he fantasised about piloting airplanes. Ever since I was a young boy, well, let’s just say I’ve preferred to take the train. Of course I know that, statistically, flying is safe; but that knowledge doesn’t stop the unnerving sense that at some point the laws of physics will reimpose themselves and we’ll be punished for our former miracles. And let’s be honest, if God had wanted us to fly, would he really have invented airline food? Vanhoenacker has no such worries – which is handy, since he’s fulfilled his dream and now pilots Boeing 787 Dreamliners round the world (a life he detailed in his surprise 2015 bestseller Skyfaring).

‘Nationalism is an infantile disease. It is the measles of mankind.’ Albert Einstein’s deft avoidance of the question put to him in 1929 – whether he considered himself a German or a Jew – was prophetic of what would happen to his country in the following decade. He was just one of the many stars of Berlin, Europe’s dazzling, decadent centre of the arts and culture, whose spark would be dimmed or extinguished by Adolf Hitler. Capturing the history, people and spirit of Berlin, arguably the beating heart of Europe, can be a tricky proposition, as I know. Sinclair McKay has wisely kept to analysing the city through the prism of the last century – or at least from the end of the Great War to the end of the Cold War.

I would guess that contemporary pagans have a love-hate relationship with Ronald Hutton. With books such as The Triumph of the Moon and Stations of the Sun, scholarly accounts of the history of modern witchcraft and the ritual year in Britain, no one writes more sensitively about their worldview. On the other hand, as an academic, Hutton assiduously seeks to saw off the branch on which many of their fondest assumptions sit. The paradox can be explained. Queens of the Wild returns to one of Hutton’s key themes: the debunking of the idea that pagan practices and beliefs survived intact in Europe from archaic times.