Marcus Berkmann

Marcus Berkmann writes the Bookends column for this week's issue of The Spectator. Here it is for readers of this blog: Of all the great cultural shifts of recent years, the rise to respectability of American comics may be the strangest. Once, Superman, Batperson and the like were just lowbrow trash for kids, but while some of us were looking in the opposite direction they acquired legendary status and became the cornerstones of Western civilisation. Now every other new film features a superhero, backed up by astounding special effects and a marketing budget that could start a small war. Excellent timing, then, for British comics author Grant Morrison to produce Supergods: Our World in the Age of the Superhero (Jonathan Cape, £17.

A friend of mine was throttled by Pete Postlethwaite once. It was outside a TV studio, people were smoking and Postlethwaite was only demonstrating some bit of business he had done while playing Macbeth, but even so, very few of us can claim to have been strangled by someone Steven Spielberg once called ‘the best actor in the world’. Postlethwaite died in January, to a vast and unexpected surge of public grief. Now arrives an autobiography, A Spectacle of Dust (Weidenfeld & Nicolson, £20), written during illness, incomplete at death, finished by other hands. But there’s no doubt it’s the real thing. Postlethwaite was an unusually open, emotional actor, both strong and vulnerable, never terribly bothered about being liked.

Marcus Berkmann has written the Bookend column in this week's issue of the magazine. Here it is for readers of this blog: A friend of mine was throttled by Pete Postlethwaite once. It was outside a TV studio, people were smoking and Postlethwaite was only demonstrating some bit of business he had done while playing Macbeth, but even so, very few of us can claim to have been strangled by someone Steven Spielberg once called ‘the best actor in the world’. Postlethwaite died in January, to a vast and unexpected surge of public grief. Now arrives an autobiography, A Spectacle of Dust, written during illness, incomplete at death, finished by other hands. But there’s no doubt it’s the real thing.

War correspondents aren’t like the rest of us: they can’t be. War correspondents aren’t like the rest of us: they can’t be. Most of the writers I know sit at home all day eating biscuits and staring out of the window. But war correspondents are out there, risking life, limb and sanity, seeing things we can only imagine; and as well as a journalist’s skills, they need a writer’s soul, to turn what they see into something people simply have to read. No wonder we’re so fascinated by them. Part of me would love to do a job like that. Fortunately the other 99 per cent of me, including the brain, knows better and keeps me indoors, safe from harm.

Marcus Berkmann has written the Bookend column in this week's issue of the magazine. Here it is for readers of this blog. Sporting literature is a strange old business, often underrated by those who don’t like sport and overrated by those who do. In particular, a warm glow hovers over the reputation of golf writing, which has attained an eminence the unsung litterateurs of snooker and darts can only envy. Golf Stories, edited by the American journalist Charles McGrath, arrives as a small and beautifully appointed hardback, as certain of itself as any book can be.

Marcus Berkmann has written the Bookends column in this week's issue of the Spectator. Here it is as an exclusive for the books blog. An awful lot of books are being published these days about the English language. David Crystal has a new one out every few weeks, and John Sutherland probably has half a dozen on the go. The Language Wars is Henry Hitchings’s third and unlikely to be his last. Previous books have been described as ‘chewy and edible’ and ‘a goldmine of pleasures’, which leads you to expect something discursive, entertaining and not particularly substantial, but Hitchings (in real life the Evening Standard’s drama critic) has a serious, even polemical purpose here.

Marcus Berkmann on the few genuinely funny books aimed at this year’s Christmas market It’s a worrying sign, but I suspect that Christmas may not be as amusing as it used to be. For most of my life, vast numbers of so-called ‘funny’ books have been published at around this time of year, aimed squarely at desperate shoppers lurching drunkenly into bookshops on 24 December, still looking for the perfect present for someone they don’t much like. But this year there aren’t anywhere near as many. Perhaps they stopped selling. Maybe the QI Annual and Schott’s Almanac saw them off.

Astonishingly, it is nearly ten years since Auberon Waugh died. I never met him — I came about half a glass of wine away from introducing myself at a party, but didn’t quite make it — but like most of his fans, read him avidly and admired him from afar. My girlfriend used to work at the Academy Club and was very fond of him, even though she was a lefty actress who thought he was the most right-wing man who had ever lived. It’s strange the way this reputation clung to him. After he died, Polly Toynbee wrote a quite crazed hatchet-job in the Guardian, describing him as the leader of a clan of writers who were ‘effete, drunken, snobbish, sneering, racist and sexist’.