Helen Brown

In June 1993, the Artist Who’d Just Decided He Didn’t Want to be Called Prince Any More handed his passport to his long-suffering tour manager Skip Johnson and told him to get the name on it changed to the squiggly symbol with which he’d decided to rebrand himself. It is ironic that he felt ‘oppressed’ by a name bestowed on him by others while insisting on renaming most of his colleagues and lovers. The passport incident is one of the more comical demands listed in the exhausting catalogue of employee grievances that make up John McKie’s sprawling biography of Minnesota’s own Prince Rogers Nelson, the virtuosic visionary who died, aged 57, of an accidental Fentanyl overdose in 2016.

‘The only solution for anger at your husband is to bake him a pie,’ says the eponymous heroine of Kate Riley’s first (and, she claims, last) novel, Ruth. ‘She heard it first from her mother and understood: daily acts of love were the best way to express anger.’ This is advice that Ruth both eyerolls and obeys. Born in the late 1960s and raised in a closed, communist, Christian community, she’s a beguiling, original character whose playful wit and innocent anarchy poke holes in the bubble world she inhabits without ever trying to push her way out. Instead, she invites us to imagine a society in which there are no possessions or individual choices, no recorded music or tampons, but lots of tray bakes and time to think.

‘Fucking men,’ spits a woman towards the end of John Niven’s brilliant tenth novel, The Fathers. ‘Why do they always think it’s about fixing everything?’ It’s a classic hit of deadpan humour from a novelist best known for sending up the most appalling blood, spunk’n’booze-spattered excesses of modern men. A former A&R man with a reputation for partying harder than any rock star, Niven made his name satirising the Britpop scene in his 2008 novel Kill Your Friends. Influenced by Vladimir Nabokov, Martin Amis and Irvine Welsh, he excelled at condensing his characters’ most brutal, misanthropic thoughts into kick-in-the-balls prose.

‘The older male rock star isn’t just my specialist subject, it’s my obsession,’ admits Kate Mossman in the opening pages of Men of a Certain Age. Over the 15 years she’s spent interviewing ageing rockers such as Sting, Tom Jones, Ray Davies, Glen Campbell and Nick Cave for the Word and the New Statesman, she describes feeling ‘something inside of me ignite... so excited, yet so at ease’. ‘How is it,’ she asks, ‘that in the presence of a wrinkly rock star twice my age, I sometimes feel like I’m meeting... me?’ Having encountered my share of these guys myself, I know precisely what she means. Rock journalism is a field in which all the writers are fans, but, as Mossman notes, ‘part of the art is pretending not to be’.

‘Your muse or your wife’ is quite the ultimatum to throw at an artist. But that was the choice Henri Matisse faced in 1939 when his wife of 30 years (you might know her as ‘Woman with a Hat’, 1905) had had enough of Lydia Delectorskaya (‘The Pink Nude’, 1935). It’s a dilemma which forms the crux of Sophie Haydock’s deliciously immersive novel about these two extraordinary women. A former journalist, Haydock is making it her mission to breathe life into women whose faces we know from famous artworks. Her gripping 2022 debut, The Flames, animated the tangled tales of the women who stripped naked for the troubled German artist Egon Schiele (including his sister and his sister-in-law).

Since reading Helen Gordon’s The Meteorites, I keep catching myself in imaginary conversation with an Essex thatcher called Frederick Pratt. On 9 March 1923, he was working in a wheat field at Ashdon Hall Farm, near Saffron Walden, when he heard a strange ‘sissing’ sound and looked up to see ‘the earth fly up like water’. He later dug up, from a depth of two feet beneath the surface of the field, a stone weighing 1.27kg that had fallen from the sky. He took it to the police station, then on to the vicar, who shipped it off to the Natural History Museum. There we know it was classified as a stony chondrite meteorite, composed of feldspar, pyroxene and olivine, white specks of nickel iron and other oddments from which the solar system was formed 4.5 billion years ago.

Weird, stinky and occasionally deadly: not everyone can make heart room for mushrooms. But Richard Fortey, a palaeontologist who recently retired from his post at the Natural History Museum after more than three decades’ service, has always found ‘pleasure and perplexity’ in the ‘alien’ world of fungi. In his lovably nerdish 2021 memoir A Curious Boy, Fortey credited the Observer’s Guide to Common Fungi with setting him on the path to a passionate life scientific. As the uncoordinated son of a sporty father (a champion fly fisherman who owned several fishing shops), the young naturalist got his teenage kicks stalking riverbanks and studying the strange organisms he found there. In 2006, he was even briefly credited with identifying a mushroom previously unknown to science.

Feminism? Pfft! Marianne Faithfull practically spat the word at me when I interviewed her in 2017. Then she rowed back, conceding that she’d spent most of her life ‘standing up for women’s rights... I’ve had to.’ Pallenberg humilated, seduced, empowered, educated, bonded and divided the band as the whim took her In chronic pain with arthritis, she’d struggled into a comfy chair while directing me to squat on the mucky floor at her feet. Who could blame her? From the moment the record producer and impresario Andrew Loog Oldham first packaged her as a teenage ‘angel with big tits’, the media had refused to treat her with respect.