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It is hard to believe that the 1983 Nobel Prize in Literature would have been awarded to the author of titles such as The Chinese Have X-Ray Eyes, Here Be Monsters or – yes – An Erection at Barchester. But if William Golding had had his way, so it might have proved. Charles Monteith, his
A new Woolf typescript is cause for celebration. Two cheers for Seshagiri. But this new edition is a weak casket
A night walk through the world of an author haunted by humanity
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Somewhere, there must be a PhD: Flashing: Exhibitionistic Disorder in the Oeuvre of Alan Bennett. It’s there in the first of his Talking Heads monologues (‘He’s been had up for exposing himself in Sainsbury’s doorway – as mother said, Tesco, you could understand it’) and in the last, Waiting for the Telegram, which opened with
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One of my favourite cartoons is of the owl and the pussycat going to sea in their pea-green boat. The caption is the owl’s guilty admission: ‘I’m afraid there have been… other cats.’ Caleb Carr, in this memoir of his own love affair with a pussycat, is straightfaced: ‘I should own up to the fact
He might be the greatest American novelist you’ve never heard of
The trial at Falling Rocket ’s center stands for something larger than a critic’s dislike of a painting
The Marriage Question shows us a woman fragmented
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Large cats cannot miaow. (Lions and tigers, I mean, not moggies who have overindulged on Whiskers Meaty Selection in Gravy.) The largest feline ever to have lived was a sabre-toothed cat in South America, which weighed nearly half a tonne. Female house cats can copulate up to 20 times a day when in the mood.
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40 min listen
On the podcast: The Spectator’s economics editor Kate Andrews looks back on a week of economic turbulence and asks whether we should be worried, for her cover piece in the magazine. She is joined by the economist – and former ‘Trussketeer’ – Julian Jessop, to discuss whether we are entering a new era of economic uncertainty
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Ten years ago, recently graduated and unemployed, I sent my CV to a raft of radio producers. Just one replied. ‘Dear Oliver,’ wrote Marilyn Imrie, in an email with the subject line ‘YOU’: ‘How nice to hear from you and about you.’ Her generosity and enthusiasm were writ large in those three capitals, which headed
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Were this a less good book than it is, it would be called How Bach Can Help You Grieve. As it is, Counterpoint serves very well, describing the American art and architecture critic Philip Kennicott’s intertwined themes: his reaction to the death of his mother, with whom he had a fractious and traumatic relationship, and
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‘When one writes for children,’ the novelist Jill Paton Walsh has said, ‘there are more people in the room. Writing for children involves the adult writer, and the child that writer once was; the present child reader, and the adult that child will become.’ Edith Nesbit, one of the greatest writers for children, was brilliantly