Culture

In his excellent, brief chronicle of foie gras, Norman Kolpas lists Kate Winslet, Ralph Fiennes, Thandie Newton, Ricky Gervais and the late Sir Roger Moore as among those who don’t want you to eat it, as well as Fortnum & Mason and the state legislature of California, which declared its production and sale illegal in 2019. Why do they care about something so petty as the making and consumption of this buttery, savoury age-old delicacy? There is, of course, a hint of class warfare about advocating its prohibition, along with caviar and other treats of the well-off and indulgent. But the main opposition claim is that the production of the hyper-fatty livers of ducks and geese is physically cruel and therefore immoral.

Deep in Peru’s Amazon rainforest sits a desolate zone, stretching for miles and pockmarked with chemical-tainted water that glistens orange and blue. This was the centre of the country’s illegal gold-mining operations, where tens of thousands of desperate people dug into the soil in search of a precious mineral that could make the difference between destitution and wealth. For every ounce found in the crime-infested badlands, nine tonnes of toxic waste are thought to be left behind in an environmental catastrophe that will contaminate the region for decades. No wonder Pope Francis, on a visit to the impoverished area, called gold ‘a false god’ when so much wreckage is left behind in its wake.

Lisa McInerney likes the rule of three. Three novels set in Cork structured around sex, drugs and rock’n’roll and, within that, ‘smoke, coke and yokes [ecstasy], St Paddy’s modern trinity’. The Rules of Revelation follows her debut, The Glorious Heresies (winner of the 2016 Women’s Prize; in its focus on the relationship between teenagers Ryan and Karine, it represents the sex component) and its sequel, The Blood Miracles (drugs, 2017). It reprises Glorious Heresies’ movement between multiple characters, Ryan Cusack (centre of Blood Miracles) seen through them. Ryan has returned to Cork, where bad blood waits for him, barely congealed and threatening, darkly, to ooze out at any moment.

Nuclear weapons carry a payload of cold logic: if both sides have them, neither will ever use them. But in 1962, when the Soviet Union and US squared up to one another over Cuba, that logic broke down. As this superb new book shows, the Cuban Missile Crisis was the product of miscalculation, ignorance and staggering recklessness. The main culprit was Nikita Khrushchev. His first error was to mistake the US president for a callow weakling. ‘Don’t worry,’ he assured his Cuban friends, ‘I’ll grab Kennedy by the balls.’ After their first meeting, JFK remarked that negotiations with Khrushchev had been the ‘roughest thing in my life’.

Robert Prowe has writer’s block. An Englishman reaching middle age, he lives in Berlin with his Swedish wife and their two young daughters: two prams in the hall, two enemies of promise. Having enjoyed some success with a collection of short stories, Robert has been commissioned to write a novel; but the submission date was 18 months ago and he now spends his mornings deleting, letter by letter, the few words he produced the day before. His stories had once come easily: they grew out of his quotidian world in the form of anecdotes passed on to him by friends, family and strangers in bars. But nothing around him will feed his present fiction and he is fast fading out of his own life. ‘R U ALIVE?’ asks his agent.

The potter and author Edmund de Waal revisits familiar terrain at an angle in his third book, Letters to Camondo. Ten years after the publication of his debut memoir, The Hare with Amber Eyes, he is once again in Paris, lurking about the rue de Monceau, ruminating on dust, trying to make the dead speak. He’s particularly keen to elicit a word from Count Moïse de Camondo (1860-1935), the last patriarch of a clan of absurdly rich French Jewish bankers with roots in Constantinople. The count was a friend and neighbour of de Waal’s cousin, the art historian Charles Ephrussi, whose collection of Japanese netsuke played such a large role in The Hare with Amber Eyes. The wary reader may ask: hasn’t de Waal had quite enough of the rue de Monceau?