Bloomsbury

Recently I was speaking with a friend about the impact of the #MeToo movement on gender politics and the implications for male academics. He suggested that there are only two speaking positions for men. The first is as a cheerleader from the sidelines. The second is as a critic, offering challenges or raising questions ...

A country that fails its purge is about to fail its renovation,’ warned French-Algerian writer Albert Camus in a January 1945 editorial. Camus’ ominous edict, issued in the weeks following the end of Germany’s occupation of France, encapsulates something of what Agnès Poirier is trying to say in this ...

In a review of several books on motherhood (LRB, 14 June 2014), Jacqueline Rose – feminist, writer on psychoanalysis, English professor, ‘public intellectual’ – interprets Adrienne Rich’s belief that to give birth is to testify to the possibilities of humanity, as a variation on Hannah Arendt’s formulation, in an essay on totalitarianism, that ‘freedom is identical with the capacity to begin’. As bearers of new lives, women are thus the repositories of tremendous power, which is undermined by the patriarchy. Arendt’s collection of essays Men in Dark Times (1968) provided the framework for Rose’s exhilarating, disturbing, ‘scandalous’ (Rose calls for a ‘scandalous feminism’ in the preface) book, Women in Dark Times.

Paul Roberts’s The Impulse Society is the latest entry in a now familiar subtype of polemic: that of the society in decline, the symptoms of which run the gamut of Western post-industrialist ills from childhood obesity to the meltdown of global economic markets, and the syndrome of which is, at root, advanced capitalism. The lineage can be traced back through, among many others, Chris Hedges’ Empire of Illusion: The End of Literacy and the Triumph of Spectacle (2009), Neil Postman’s Amusing Ourselves to Death (1985) and Guy Debord’s The Society of the Spectacle (1967).

For a man who has repeatedly been described as America’s greatest playwright, Tennessee Williams’s reputation has fluctuated as wildly as his notorious mood swings. In the decade after the war he was celebrated. ‘Mr. Williams is the man of our time who comes closest to hurling the actual blood and bone of life onto the stage,’ wrote Walter Kerr of the first production of Cat on a Hot Tin Roof (1955). By the time of its 1974 revival, Stanley Kauffmann spoke for most of his colleagues when he said, ‘A Streetcar Named Desire is truly an American tragedy and The Glass Menagerie stands, even if a bit unsteadily, as one of the few successful poems in our theatre’, and then implied that everything else in the master’s output was downhill. The gleefully savage venom with which the critics greeted his later plays takes the breath away. Of The Milk Train Doesn’t Stop Here Anymore (1963), Richard Gilman wrote: ‘Why, rather than be banal and hysterical and absurd, doesn’t he keep quiet? Why doesn’t he simply stop writing, stay absolutely unproductive for a long time in Key West or the South of Spain?’ Reviewing Clothes for a Summer Hotel (1980), Robert Brustein suggested that he should book ‘a flight to Three Mile Island on a one way ticket’. The tall poppy syndrome is not merely endemic to Australia.

In 515 bce, Scylax, explorer and storyteller, sets sail from Caspatyrus in King Darius’s empire. Eclipsing time, this antique glimpse shifts to an archaeological dig in Turkey in 1914, one that is abandoned when war breaks out.In the service of ‘king and country’, lives change immeasurably. Vivian Rose Spencer exchanges archaeology for nursing wounded soldiers in London hospitals. Qayyum Gul is a non-commissioned officer in a British Army regiment, the 40th Pathans. He loses an eye at Ypres and is invalided home to Peshawar, Caspatyrus’s modern incarnation.

One swallow doesn’t make a summer, as the stark proverb cautions, but a cockatoo flocking of short stories suggests that the form is perhaps enjoying a revival – and the publishing industry has seized an opportunity. As it should.

In 2013, Alice Munro won the Nobel Prize for literature, lauded as ‘the master of the contemporary short story’. Edna O’Brien’s The Love Object appeared in 2013. New collections by luminaries Hilary Mantel (The Assassination of Margaret Thatcher) and Margaret Atwood have followed in 2014. And for aficionados of the form, there was the splendid brick (733 pages) of collected stories by the quirky American virtuoso of the form, Lydia Davis (do read her – she’s extraordinary), anticipating a trend when it was published by Picador in 2009.

American Paul Dickson has written many books on aspects of language, including Words from the White House (2013). He also claims to have invented some fifty words, although he admits that only two of these have any real chance of becoming ‘household words’: word word ‘a word that is repeated to distinguish it from a seemingly identical word or name’, as in ‘a book book to distinguish the prior work in question from an e-book’; and demonym ‘a name commonly given to the residents of a place or a people’ (as Briton or Liverpudlian). In his new book, Dickson includes these two words, along with a solid collection of English neologisms from mainly English authors from Chaucer to the present. Such is the prerogative of the author of a book on authorisms.

Aproaching Thomas Wyatt’s great but notoriously resistant poem ‘They flee from me that sometime did me seek / With naked foot stalking in my chamber’, poet and critic Vincent Buckley wrote, ‘The sense of purposive yet mysterious activity created in this opening stanza is also a matter of its sensuousness … The critical problem is to define this … sensuousness … [I]t is not to identify the kind of animal suggested in the analogy. I have heard deer, birds, and mice proposed for this purpose; my own preference is for racehorses, but it is as irrelevant as any other. It is far more important to identify their action than to identify them.’