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Bloomsbury

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).

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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.

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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.

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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.

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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.

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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.’

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Harold Adrian Russell (Kim) Philby was the Third Man of the notorious Cambridge spy network set up in the 1930s and partially unmasked in the early 1950s, when Guy Burgess and Donald Maclean fled to Moscow. He had been in British intelligence (MI6) since the beginning of the war, but had been working for Soviet intelligence for some years before that. A high-flyer, charming and sociable, he rose rapidly as an officer in the British service and was even tipped to be the next head of MI6. After narrowly surviving the Burgess–Maclean fallout, he ended up in Beirut in the early 1960s, working as a freelance journalist for the Observer and the Economist and an agent for MI6 on the side. Son of a famous and eccentric Arabist, St John Philby, his Middle East coverage struck an old friend, Flora Solomon, as anti-Israel, and in criticising it to her old friend Victor Rothschild she mentioned that back in their youth in the 1930s he had tried to recruit her as a communist spy. Lord Rothschild passed that on to MI5, which had had it in for Philby for years, and in the new round of investigation, Philby’s own bosses in MI6 were convinced. An old friend, MI6’s Nicholas Elliott, confronted him in 1963 and obtained a partial confession, but then inexplicably left Beirut and allowed Philby to flee, courtesy of his Soviet handlers.

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Usually the subject’s death signals the end of a biography, but for Dylan Jones it is the starting point. Three decades after his death in 1977, Elvis Presley has proven even more ubiquitous, and lucrative, than he was in life. When he died – with the official cause listed as heart failure, but a vast cocktail of drugs playing an undeniable role – his manager, ‘Colonel’ Tom Parker, declared, ‘Why, I’ll go right on managing him.’ And from there Parker helped set the template for a superstar entertainer’s posthumous success.

But that’s not all that Jones, who is Editor of GQ, is interested in here. In truth, it can be difficult to pin down just what he is trying to add to the oversaturated conversation about Presley. Elvis Has Left the Building bears the tagline ‘The extraordinary story of how the rock star who changed everything lives on’, yet Jones takes a more roundabout approach in this book. Jones is a sharp and affable writer, but the book has little in the way of sustained focus. He flits between various themes and anecdotes, and even dips in and out of autobiography.

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The Commonwealth Games, like the Commonwealth of Nations, often seem irrelevant. I intended to declare my bias in this review when I found author Brian Oliver saying the same thing on the first page of his introduction. But, as the author points out, the Games have survived the political, cultural, and sporting odds for more than eighty years and have a rich sporting history.

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Kicking the Kremlin by Marc Bennetts & Putin and the Oligarch by Richard Sakwa

by
August 2014, no. 363

Moscow’s annexation of Crimea in March was a dramatic sign of Russia’s sense that it had recovered from its post-Soviet weakness. Viewed in the West as an outrage, in Russia the seizure was portrayed as a triumph, the culmination of a national resurgence under Vladimir Putin. It remains to be seen how long this mood of triumph will last. 

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