This readable, if sometimes prolix, scamper through half a millennium of life at Hampton Court Palace is prefaced with three ...
Andrew Holter takes us into the extraordinary world of Helen Keller, in her own words; and Peter Maber hails a magnificent retrospective of Yoko Ono’s radical art and music.
In The Science of Spin Roland Ennos describes the physics behind many types of physical rotation. He begins on the cosmic scale, explaining how spinning, alongside gravity, was crucial in the ...
How powerful can amateur theatre be as a tool of industrial relations, or indeed industrial strategy? Catherine Hindson’s excellent book Theatre in the Chocolate Factory provides, among much else, a ...
In June 1948 two Italian women writers contributed pieces to the final edition of Mercurio, a monthly magazine of politics and the arts. Both had survived the Mussolini years, though Natalia Ginzburg ...
Each of us wants to feel like the author of our public character. We want to succeed in looking and acting in certain ways, to realize the values we have chosen for our public selves. But mistakes ...
Burma Sahib tells the story of the five years in the 1920s that Eric Blair (later George Orwell) spent as a colonial policeman in the British colony of Burma (now Myanmar). Paul Theroux presents the ...
Julius Taranto’s clever and amusing debut, How I Won a Nobel Prize, attempts to tackle cancel culture via the medium of the campus novel. The action is largely set in the Rubin Institute, a (fictional ...
If the workplace novel is a recognizable twenty-first-century literary subgenre, its exemplar might be Joshua Ferris’s Then We Came to the End (2007). Adelle Waldman’s second book, which arrives more ...
“Asked of Helen Keller’s glory, / most folks talk of this one story: / DeafBlind girl – no one could reach her / First word ‘water,’ thanks to teacher”/ These couplets begin So Much More to Helen!: ...
Auguste-Maurice Barrès, Gabriele D’Annunzio, Maxim Gorky and Ding Ling – what connects these four disparate figures? According to Simon Ings they are all authors who wielded their “creative weaponry” ...