Mark Nayler

My reading experiences with the poet and novelist Charles Bukowski (1920-94), once described by Time magazine as the ‘laureate of American lowlife’, have taught me an important truth about literature: that characters you hate can be at least as compelling as those you admire.    Take Henry Chinaski, the depressive, alcoholic protagonist of Bukowski’s five semi-autobiographical novels (he wrote six in total, as well as hundreds of poems and short stories). One of these in particular I have read so many times that the jacket is falling off: Women (1978), in which Bukowski’s alter-ego Chinaski enjoys - if that’s the right word - the rewards of literary fame after decades of obscurity.

Until recently, I viewed Málaga’s growing movement against ‘overtourism’ with scepticism and detachment. During the eleven years that I’ve lived in Andalucia, this gorgeous city has always been a tourist hub - which is good, because tourism drives Spain’s economy, accounting for 13 per cent of GDP and around the same proportion of jobs. The Costa del Sol, as Málaga’s coast is called, welcomed a record 15 million visitors in 2025, generating €22 billion (£18.8 billion) in revenue. Spain clearly needs its tourists, so should be careful about putting them off.

On the back of my copy of Fyodor Dostoevsky's 1869 novel The Idiot, there’s a quote from A.C. Grayling that tells you what to think of it. ‘One of the most excoriating, compelling and remarkable books ever written,’ it reads, ‘and without question one of the greatest.’ That ‘without question’ bothered me. Why assume that every classic deserves its reputation? We should make up our own minds after having read one, as we do with any other book.   That wasn’t the only reason why I treated Grayling’s claims with scepticism as I edged my way into this gargantuan novel (I can’t remember exactly when that was, but I know I was a much younger man at the time).

Bullfighting season in Spain began earlier this week at Seville’s huge annual fair, known as the Feria de Abril. A couple of days before the fair began, at a corrida de toros (‘running of bulls’, translated into English as ‘bullfight’) in the Andalusian capital’s beautiful 18th-century bullring, one of the country’s best-known bullfighters (toreros) was badly gored in the rectum. The reaction from anti-bullfighters, pouring out on social media and in comment threads, was entirely predictable: he deserved it.   This sort of hateful, knee-jerk reaction to bullfighting can be ignored as the ranting of morons.

The German philosopher Arthur Schopenhauer (1788-1860) once wrote: ‘[T]he man who feels himself drawn to philosophy must himself seek out its immortal teachers in the quiet sanctuary of their works.’ That’s easier said than done: philosophical classics have a terrible reputation outside ivory towers – as big, boring, difficult books, filled with obtuse theorising about irrelevant problems, their covers featuring ghastly old men staring miserably out at the reader. Books about philosophy are hugely popular today, most of which repackage the thoughts of past thinkers for time-pressed readers – but I suspect not many people transition from these guides to the great works themselves, especially when AI can do all the hard reading for you.

I’m backstage with classical crossover singer Karl Loxley and his pianist Tim Abel at Stratford-Upon-Avon’s Rother Street Arts House. The sound and lighting team are setting up in the empty theatre for what will be one of the final shows in Loxley’s ‘Songs of Christmas’ tour. Since 2015, when Loxley sung Puccini’s ‘Nessun Dorma’ on the TV talent show The Voice, he’s been on a mission to make classical music cool. I’m here to see exactly what that involves – and if he’s succeeding.  Loxley is charming, expansive and – at least when I interview him, a couple of hours before showtime – relaxed. Appearing on The Voice, he tells me, was ‘a very nerve-wracking experience. I don’t think I would have the nerve to do it now.

The USA’s Eric Lu has beaten more than 600 other pianists to win the 19th International Chopin Piano Competition. Held every five years in Warsaw around the anniversary of the Polish composer’s death on 17 October, this is one of several piano tournaments that often launch major careers, along with Moscow’s Tchaikovsky Competition, the Van Cliburn in Texas and the Leeds International. Unlike any of those, however, the Chopin competition requires contestants to perform the music of just one composer. Lu, 27, didn’t exactly need this win. He took first prize at the Leeds International in 2018 and has already released two records on the Warner Classics label. After his victory in Warsaw, he will take home a cash prize of €60,000 (£52,000).