Allen Lane

Richard Sennett is a distinguished American-born sociologist who has in the past written compellingly about ways in which social and economic developments have shaped larger cultural frameworks. This new work, which the publishers advertise as ‘the first in a trilogy of books on the fundamental DNA of human expression’, is even more wide-ranging in its scope, attempting as it does to cover how the nature of performance has shaped not only politics but also the creative arts and ‘life’ itself. Sennett’s first words are taken from Shakespeare’s As You Like It, ‘All the world’s a stage’, and he aims to track the implications of Jaques’s words across different periods of history, looking for ‘the bonds between people that stretch across time as well as space’.

The world isn’t quite what it seems. We often imagine the modern world as if it were a halved orange, East clearly separated from West. For centuries, the West has claimed superiority over the Rest, despite knowing little about them, as Edward Said copiously showed in Orientalism (1978). An equally influential proposition in The Clash of Civilisations (1996) was Samuel Huntington’s. He saw the world of Islam as having ‘bloody borders’ and being pitted in conflict with the West over cultural differences. In 1984 (1949), George Orwell imagined two fictional hemispheres in conflict, Eurasia and Eastasia, leaving unresolved the problem of what to do about Oceania.

Finally, after a fortnight of soggy Sydney days a crystalline morning dawned. Our extension roof and back gutter were full of humus from the overhanging branches of our neighbour’s Lilly Pilly. No more putting it off, I decided. Time to get out there before the rain returned. For the first time, my seven-year-old joined me on the job. He enthusiastically cleaned the skylight, chucked decaying leaves and flowers onto the deck below, and held branches while I sawed and pruned. When our cheap secateurs broke, he walked the 500 metres alone to the hardware store and back to buy new ones – twice, because he didn’t have enough cash the first time. As he returned with the new tool clutched in one hand and a bag of lollies in the other, his face glowed with quiet triumph. It was, he said to my wife the next morning on the way to school, the highlight of his weekend.

Can people have too much wealth? Does extreme wealth have negative consequences? Over the past thirty years, there has been a remarkable rise in the number of billionaires whose annual earnings are so large that they are often difficult to comprehend. To take but one example, it was estimated in 2022 by Forbes magazine that Elon Musk’s personal assets were worth $219 billion and that, if he worked for forty-five years, his lifetime hourly rate from these assets was in the order of US$1,871,794.

On 27 August 1783, Jacques Charles launched the world’s first hydrogen balloon flight from the Champ de Mars (now the site of the Eiffel Tower). He excluded his rival Jacques-Étienne Montgolfier from the ticketed reserve. Then, on 21 November, Charles and another ‘navigateur aérien’ made the first manned flight, landing thirty kilometres north of Paris. Montgolfier was invited to cut a ribbon as a gesture of reconciliation in the name of science.

When amateur historian Catherine Corless wrote in the Journal of the Old Tuam Society (2012) that the bodies of 796 children who had died in Tuam’s Mother and Baby Home between 1925 and 1961 might have been interred in a disused septic tank within the home’s grounds, she supposed her involvement in the search for truth would be at an end. The article, she expected, would prompt academics, politicians, and law enforcement agencies – not to mention the Bon Secours nuns who ran the home – to begin their own inquiries.

Wolfram Eilenberger’s previous book, the bestselling Time of the Magicians (2020), explored the four Germans – Ernst Cassirer, Walter Benjamin, Martin Heidegger, and Ludwig Wittgenstein – who ‘invented modern thought’. The Visionaries keeps to the formula, this time with women in the lead roles. It is described as a group biography, but Hannah Arendt, Simone de Beauvoir, Ayn Rand, and Simone Weil were very much not a group. Nor is it a biography: there is scant biographical information and no analysis of why they lived as they did. Apart from being born at the same time, writing books, and sharing what Eilenberger calls an ‘honest bafflement that other people live as they do’, the quartet have nothing in common: Arendt was a German Jew escaping the Gestapo; Beauvoir a French intellectual on a mission to enjoy herself; Rand a Russian émigré refashioned as an American neoliberal; and Weil a latter-day Joan of Arc. The closest any of them came to meeting was when Beauvoir, for whom the existence of others was ‘a danger to me’, was introduced to Weil, who had wept at the news of famine in China. It did not go well. The only thing that mattered, Weil announced, was a revolution to feed the world’s starving, to which Beauvoir ‘retorted that the problem was not to make men happy but to find the reason for their existence. She looked me up and down. “It’s easy to see you’ve never been hungry”, she snapped. Our relations ended right there.’

Fans of the Iliad have been well served recently. Late last year saw the arrival of a new translation by Emily Wilson, whose earlier translation of the Odyssey (2018) was greeted with near universal acclaim, and it was joined by a new book about Homer and the composition of the Iliad by one of the leading scholars of Greek history, Robin Lane Fox. Both works encourage us to rethink our connections to this epic poem and its value for contemporary life. Set against a backdrop of clashing Greek and Trojan forces, what does this poem about the fatal sequence of events that emerges from a disagreement between two feuding warlords have to teach us?

There are two powerful images evoked by the waves of revolutions that broke across Europe in 1848. The first is of ‘the springtime of the peoples’, when scores of popular insurrections overturned the conservative Metternich system of a balance of power between monarchical regimes that had ruled the continent since the overthrow of Napoleon Bonaparte in 1815. In France the core demand was popular democracy. Elsewhere, demands for self-determination were linked to dreams of national unity in Germany and Italy, and further to the east to the desire for independence from the Austrian and Russian empires.

For over a decade, Naomi Klein – the avowedly left-wing Canadian journalist and activist, best known for her first and third books, No Logo: Taking aim at the brand bullies (1999) and The Shock Doctrine: The rise of disaster capitalism (2007) – has been ‘chronically confused’ for ‘the other Naomi’, American writer Naomi Wolf, who first made her name with the feminist best seller The Beauty Myth (1990). Across that period, Klein’s ‘big-haired doppelganger’ has morphed into ‘one of the most effective creators and disseminators of misinformation and disinformation’ of recent times, a development that has led some to remark that Wolf is in fact a ‘doppelganger of her former self’.