Yale University Press

It is a truth universally acknowledged that pride comes before a fall, and ‘Anyone with a historical sense would have realised that the hubristic attempt to make the world into a frontier and culture-free single market would end in tears.’ This opening salvo in Professor Robert Skidelsky’s new book is part of his answer to what is wrong with economics. Besides arrogance, this includes amorality, ahistoricism, sociopathy, over-formalisation, and unscientific dogmatism.

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I must admit to being intrigued by any self-proclaimed ‘Histories of Everything’, so I leapt at the prospect of a dense history of my favourite creative art and how it flourished in our past centuries, right down to a couple of writers who died in 2019. And occidental only: that is, apart from a sidelong glance at Hafez, Tagore, and Li Po’s fellow poets. Unless you regard the Russians, that is – bridging East and West.

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At the end of 1910, Irving Berlin took a winter holiday in Florida. James Kaplan writes, ‘Here we must pause for a moment to consider the miracle of a twenty-two-year-old who in recent memory had sung for pennies in dives and slept in flophouses becoming a prosperous-enough business man to vacation in Palm Beach.’

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The Letters of Cole Porter edited by Cliff Eisen and Dominic McHugh

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April 2020, no. 420

Sometime in the early 1970s – his health poor, his country’s no better – the English composer Benjamin Britten asked his good friend and publisher Donald Mitchell to write his biography, imploring him to tell the truth about his long-term relationship with the tenor Peter Pears. In the ten years that followed Britten’s death in 1976, Mitchell amassed thoughts and notes, all the while deflecting the common query among friends and those outside the hallowed circle, ‘How’s the biography going?’

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In his long poem The Bridge (1930), Hart Crane balances the breadth of his epic vision against a compressive energy, a ballistic sort of expression: ‘So the 20th Century – so / whizzed the Limited – roared by and left.’ Since Crane worked in an American tradition of poet–prophets that includes Walt Whitman and the undersung H.D. (Hilda Doolittle), it is tempting to grant him that. The twentieth century did roar by and go. And the 20th Century Limited, the luxurious passenger train connecting New York to Chicago, furnished it (and him) with an expression of the century’s quarrelsome momentum, its loud, emblematic modernity.

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In Future Proof, Jon Coaffee, professor in urban geography at the University of Warwick, asks readers to imagine ‘a typical day’: radio reports of an impending cyclone; public-transport posters encouraging the reporting of ‘suspicious activity’; the path to an office (especially in a CBD) protected by hostile-vehicle-mitigation bollards. At work, computer systems will be tested for security from cyber attacks. The train home will be delayed due to a network complication, and the evening’s television will show the cyclone’s impact, discussing the relative ineffectiveness of hazard mitigation.

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Henrik Ibsen: The man and the mask by Ivo de Figueiredo, translated by Robert Ferguson

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September 2019, no. 414
One of the strongest markers of identity in my birthplace, Iceland, is the idea of independence. The country takes great pride in how it reacquired full independence from Denmark in 1944; one of the main political parties is called the Independence Party, and the most famous Icelandic novel is Independent People by Halldór Laxness ... ... (read more)

As the old saying goes, one should never judge a book by its cover; however, the instantly recognisable iconography on the cover of A Little History of Archaeology does provide an insight into this book’s content ...

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'History repeats itself,’ Karl Marx wrote presciently in The Eighteenth Brumaire of Louis Napoleon. ‘The first time as tragedy, the second time as farce.’ The central themes of Hal Brands and Charles Edel’s The Lessons of Tragedy are clear. In the developed world, we are complacent about world order, democracy, and civil society ...

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Joseph Stalin wanted this wartime correspondence published, and one can see why: he comes off best. As the authors comment, ‘the transcript of the Big Three meetings demonstrates Stalin’s careful mastery of the issues and his superior skill as a diplomatist, regularly keeping his silence but then speaking out in a terse and timely manner at key moments’. He is ...

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