Times Literary Supplement (April 17, 2024): The latest issue features ‘A Heavy Reckoning’ – Shakespeare and War’; Judgment at Tokyo; Iranian women in revolt; Memoirs of a sociopath and A Chilean masterpiece…
Times Literary Supplement (April 10, 2024): The latest issue features ‘Man Into Marble’ – Corin Throsby and Kathryn Sutherland on the real Byron; Anthony Burgess on music; Left in charge at the palazzo; Revolutionary Russia; A shorter Long Day’s Journey and What is lyric verse?…
Jacqueline Rose on violence and its origins
In response to the destruction of Gaza, it seems to be becoming almost impossible to lament more than one people at a time. When I signed Artists for Palestine’s statement last month, I looked for mention of the atrocities committed by Hamas against Israeli Jews on 7 October, and then decided to settle for the unambiguous condemnation of ‘every act of violence against civilians and every infringement of international law whoever perpetrates them’.
‘Little Boy’ exploded over Hiroshima at 8.15 a.m. on 6 August 1945, wiping most of the city off the face of the earth and killing eighty thousand people instantly. But the ‘shock’ to the leadership in Tokyo envisaged by the former US secretary of war Henry Stimson failed to materialise.
Times Literary Supplement (May 26, 2023) – Alan Jenkins on Martin Amis, Young Russian fascists, The Rossettis at Tate Britain, Writers at the Hay Festival, Seamus Perry on ‘Byron’s Voice’.
Martin Amis, a talent for our time By Alan Jenkins
In the Foreword to The War Against Cliché: Essays and reviews 1971-2000, a career-spanning collection of his journalism (literary and other), Martin Amis recalled how, when they started out in the early 1970s, he and his friends and colleagues touchingly assumed that literary criticism was as essential to civilization as literature itself was. Furthermore, “the most fantastic thing about this cultural moment” was that, in the debate between the Two Cultures, Art vs Science, “Art seemed to be winning”.
The new crop of Italianate villas, iced white with stucco like giant cakes, and the rows of brick terraces and mansion blocks that followed them soon became home to publishers (Charles Ollier), artists (Sir John Tenniel) and poets: Robert Browning lived at 19, Warwick Crescent for more than 20 years and the pool where the Grand Union and Regent’s canals meet is now called after him.
Although Browning has been credited with naming the canal area Little Venice, it was Byron that first (facetiously) compared the basin to the Italian lagoon.
Story has it that the poet used to walk along the Paddington arm of the Grand Union Canal with his publisher, John Murray — helpfully pointing to the bridge where another publisher had once drowned himself — and was inspired to write that ‘there would be nothing to make the canal of Venice more poetical than that of Paddington, were it not for its artificial adjuncts’; a fair point, considering that, at the time, the London canals were lined with warehouses and wrapped in soot.
Even today, however, the elegant terraces halfway up Randolph Avenue, with their tripartite arched windows, are far more reminiscent of the Italian city than Little Venice itself, where the serene buildings and tree-lined banks have a rather more bucolic feel.
Boomers Daily 