Martin Krygier’s deft, discursive prose could persuade anyone except an ironclad ideologue that it is exhilarating as well as healthy to examine one’s prejudices and complacencies. Krygier is also a writer possessed of a frank openness that gives credence to the idea that you can judge a book by its cover. I suspect he’d also enjoy the piquancy of maxim busting. The cover of Civil Passions is a particularly beautiful one: a detail of Ambrogio Lorenzetti’s 1338–40 fresco, the Allegory of Good Government. Its Giottoesque precision and its colour – those luminous Sienese pinks and reds – would be reason enough to use it. But there is a deeper fitness to the choice, and it has to do with what Krygier describes as his destined mode of being: one of hybridity.
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