Sarah Ditum

I’m lucky. I’ve only visited a family court once, and that was as a journalist rather than a party to a case. One detail stuck with me. On the wall in the waiting area was a poster preparing attendees for the layout of the courtroom: the judge goes here, the barristers go here, and you

Even if you’ve never seen Adrian Lyne’s 1987 thriller Fatal Attraction, you’ll know what a ‘bunny boiler’ is. When Alex (Glenn Close) slaughters her lover Dan’s family pet and leaves it simmering on the stove, she invented a universal shorthand for the obsessive, unstable woman who can’t take romantic rejection. In the film, Alex is

At some point in the past ten years, trauma became a joke in my household. Should any Ditum suffer a minor mishap, the correct reaction is to adopt a wounded expression, bob your head to the side and whimper: ‘My trauma!’ Not because trauma is funny, but because what Darren McGarvey refers to as the

One of the most compelling artefacts described in this history of human birth is a stone carving discovered at an ancient temple site in what is now Turkey. The Gobekli Tepe totem pole, 11,500 years old, 6ft 3in tall and weighing 1,100lb, shows successive generations giving birth: a faceless figure at the top delivers a

The 1990s and the following decade were, it is widely agreed, a bad time to be a girl. Which is strange, because a girl seemed like the best thing you could be then. Certainly better than being a woman. Not as good as being a boy or a man, of course, but since those were

A horror story in three words: London property market. That’s the starting point for Roisin Lanigan’s brilliantly creepy debut novel, set in the sheer hell of being a young renter. Because once you’ve run the gamut of carbon monoxide-leaking boilers, coked-up estate agents, absentee landlords and frosty housemates (and been gouged in rental costs for

The problem for feminism is men. Not, specifically, in the sense that men are the source of women’s problems, although the statistics do tend to point in that direction. Feminism’s men problem is that, despite all this, women like men. Love men. One of the lessons of second-wave experiments in separatism is that the idealised

Margaret Atwood is among the major writers of English fiction of our time. This is a very boring way to start a review, but it is true. Atwood, now 82, is prize-winning, popular and prolific. She’s won two Bookers. Several of her books have attained totemic status with readers, most obviously the reproductive dystopia of

All the questions around Britney Spears can be condensed into this one: who should we blame? For a long time, there was a comfortable narrative that the pop star’s decade-long descent — from virginal queen of teen in 1998, to junk-food scarfing, twice-divorced single mother, to broken woman being transported to hospital in restraints —

Is Lucy Ellmann serious? On the one hand, yes, very. The novel she published before this collection of essays was the Booker-shortlisted Ducks, Newburyport, which relayed the internal life of an Ohioan mother of four via a single sentence across 1,000 pages. Her publisher tells me that between the proof and final publication of Things

What makes a city? The collective labour of millions packed into its history; the constant forgetting of incomers who arrive to create their own version of a place, their own versions of themselves; the desires of great men, whose improvements are partly intended to secure a better life for their less fortunate fellows, and partly

Most collections of journalism are bad. There are two reasons for this: one is that they are usually incoherent and the other is that they are, perversely, far too coherent. The pieces are pulled from their original contexts — newspapers, magazines — and thrown together with others they have no relation to beyond a common

The title of this collection of journalism is a problem. Not the Kant’s Little Prussian Head bit, which, though opaque, is explained in the text. It’s from Thomas Bernhard’s novel The Loser and is quoted by Claire Messud in the title essay: ‘We study a monumental work, for example Kant’s work, and in time it