Theme-Park Prussia

David Blackbourn, 24 November 1994

Prussia: The Perversion of an Idea 
by Giles MacDonogh.
Sinclair-Stevenson, 456 pp., £20, July 1994, 1 85619 267 9
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“... Ritter blocked German translations of books by the émigré historians Hans Rosenberg and Francis Carsten in the Fifties). In the next two decades a formidable array of scholars showed how much the Prussian monarchy, landed nobility, army and bureaucracy had contributed to the disastrous course of modern German history. Their mordant view of the Old ...”

When in Bed

David Blackbourn, 19 October 1995

Reflections on a Life 
by Norbert Elias.
Polity, 166 pp., £35, October 1994, 0 7456 1383 7
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The Civilising Process 
by Norbert Elias.
Blackwell, 558 pp., £50, March 1994, 0 631 19222 0
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“... Karl Löwith were beginning to work through the Weberian legacy, and Heidelberg was home also to a young American called Talcott Parsons, who later presented his own straitjacketed, functionalist version of Weber to an American public, with whom it proved immensely influential – a version that was re-exported back to post-war West Germany as the intellectual ...”

Notes on Cézanne

David Sylvester, 7 March 1996

“... Rubens was like a force of nature. Cézanne invoked the great artificer. Cézanne’s statement to Francis Jourdain that his constant preoccupation had been ‘de rendre sensible la distance réelle entre l’oeil et l’objet’ obviously relates to the feelings about the dangers of closeness expressed in those early poems sent to Zola in which ravishing ...”

How to See inside a French Milkman

Peter Campbell, 31 July 1997

Naked to the Bone: Medical Imaging in the 20th Century 
by Bettyann Holtzmann Kevles.
Rutgers, 380 pp., $35.95, January 1997, 0 8135 2358 3
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“... as they are unpacked tripe by tripe. Their classical attitudes clearly label them as art. Francis Bacon turned his back on art when he used a book about positioning X-ray subjects as a source for his paintings. But even these pictures, while not exactly dignified, fit in the heroic/horrific tradition of Rembrandt’s flayed oxen and anatomy ...”

Why We Weep

Peter de Bolla: Looking and Feeling, 6 March 2003

Pictures & Tears: A History of People Who Have Cried in Front of Paintings 
by James Elkins.
Routledge, 272 pp., £14.99, October 2001, 0 415 93713 2
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“... the Frick Collection in New York and became mesmerised by Giovanni Bellini’s Ecstasy of St Francis. There are touching pages describing the power of this image (some beautiful passages on its chromatic registers) and the resulting fascination the young Elkins developed for the painting. But not a tear in ...”

Learned Insane

Simon Schaffer: The Lunar Men, 17 April 2003

The Lunar Men: The Friends who Made the Future 
by Jenny Uglow.
Faber, 588 pp., £25, September 2002, 0 571 19647 0
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“... intermarriage. Susannah Wedgwood, Charles’s mother, suffered much from boils and bad skin when young. Her father, Josiah, dragged her up to Liverpool for a saltwater bath, a modish therapy. Susannah stoutly resisted the prescription, spending her time playing in the street until she smashed her head on a paving stone. So her father left her at a riverside ...”

Burning isn’t the only way to lose a book

Matthew Battles, 13 April 2000

The Library of Alexandria: Centre of Learning in the Ancient World 
edited by Roy MacLeod.
Tauris, 196 pp., £39.50, February 2000, 1 86064 428 7
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“... seen at least one major fire. When Julius Caesar came to the aid of Cleopatra in her war against young Ptolemy XIII in 48 BC, he burned the ships in Alexandria’s harbour to prevent his enemy from taking the city by sea. In the ensuing conflagration, the warehouses along the docks also caught fire; according to Seneca the Elder, some forty thousand books ...”

Diary

Stephen Phelan: Spain’s Disappeared, 20 November 2025

“... left-wing party, the PSOE, and the coalition government headed by Pedro Sánchez, its leader. Pope Francis had died a couple of days earlier, on Easter Monday, and the group spoke about the abiding power of the Church over Spanish education, healthcare and finance. They described the religious parades of Easter week as annual rituals of cultish ...”

Stylish Disregard

Malin Hay: Flops, 8 October 2026

Box Office Poison: Hollywood’s Story in a Century of Flops 
by Tim Robey.
Faber, 334 pp., £10.99, September 2025, 978 0 571 38121 0
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“... W hen​ Francis Ford Coppola won the Razzie Award for Worst Director for his film Megalopolis last year, he responded with a long Instagram caption beneath a zoomed-in photo of his face.I am thrilled to accept the Razzie Award … at a time when so few have the courage to go against the prevailing trends of contemporary moviemaking! In this wreck of a world today, where ART is given scores as if it were professional wrestling, I chose to NOT follow the gutless rules laid down by an industry so terrified of risk that despite the enormous pool of young talent at its disposal, may not create pictures that will be relevant and alive fifty years from now ...”

Love Stories

Edmund White, 4 November 1993

To the Friend Who Did Not Save My Life: A Novel 
by Hervé Guibert, translated by Linda Coverdale.
Quartet, 246 pp., £12.95, November 1991, 9780704370005
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The Man in the Red Hat 
by Hervé Guibert, translated by James Kirkup.
Quartet, 111 pp., £12.95, May 1993, 0 7043 7046 8
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The Compassion Protocol 
by Hervé Guibert, translated by James Kirkup.
Quartet, 202 pp., £13.95, October 1993, 9780704370593
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“... slabs of cooked meat but never to swallow them. He later claimed this volume had been inspired by Francis Bacon’s paintings. The brutal way of regarding his own body, prefigured in the suggestively titled La Mort propagande, was fully developed only in his last Aids books. A collection of Guibert’s photographs, Le Seul Visage, begins with a startling ...”

A Lethal Fall

Barbara Everett: Larkin and Chandler, 11 May 2006

“... as typical – ‘he’s fucking her and she’s/Taking pills or wearing a diaphragm’. The young people’s pre-Aids freedom from moral constraints, assessed with brutality but also an angry humour, sets them down in ‘paradise’ – at least in the envious eyes of ‘everyone old’ watching ‘everyone ...”

Models and Props

Nicholas Penny: Caravaggio in the Studio, 10 August 2000

Caravaggio 
by Catherine Puglisi.
Phaidon, 448 pp., £24.95, May 2000, 0 7148 3966 3
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Caravaggio’s Secrets 
by Leo Bersani and Ulysse Dutoit.
MIT, 118 pp., £18.50, September 1998, 0 262 02449 7
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M 
by Peter Robb.
Bloomsbury, 567 pp., £25, January 2000, 0 7475 4599 5
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Quoting Caravaggio: Contemporary Art, Preposterous History 
by Mieke Bal.
Chicago, 305 pp., £28.50, October 1999, 0 226 03556 5
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Doubting Thomas: A Novel About Caravaggio 
by Atle Naess, translated by Anne Born.
Owen, 159 pp., £14.95, June 2000, 0 7206 1082 6
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Caravaggio: A Life 
by Helen Langdon.
Pimlico, 447 pp., £15, November 1999, 9780712665827
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“... the only new recruit made in the 20th century to the first rank of Old Masters was (as the late Francis Haskell pointed out) Georges de La Tour, whose brilliantly lit pickpocket and solemn, candlelit Magdalen both derive from Caravaggio’s inventions. The reassessment of Caravaggio was in part due to the advent of loan exhibitions, to the cleaning and ...”

AB Fab

Ian Penman: Anthony Burgess heads south, 8 October 2026

Tremor of Intent 
by Anthony Burgess.
Galileo, 252 pp., £10.99, February, 978 1 915530 70 7
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“... Monsall. Roll them around your mouth, savour the tang – vinegary, gutsy, tart. Was this young Burgess’s first experience of the enchantments of language, anticipating his discovery of James Joyce? Burgess was the child of Irish Catholic parents – Anthony was his confirmation name, after St Anthony of Padua, patron saint of lost things – and he ...”

Diary

Leo Robson: What I Saw at the Movies, 6 November 2025

“... or at least my appetite, was indiscriminate. As Pauline Kael wrote in 1969, ‘when you’re young the odds are very good that you’ll find something to enjoy in almost any movie.’ Cavell, whose own ‘odd education’ took place in part at the Berkeley cinemas where Kael worked as a programmer, put it in more positive terms: ‘To be drowning in the ...”

Shakespeare and the Elizabethan Sonnet

Barbara Everett: The Sonnets, 8 May 2008

“... a female. As it happens, the first 126 Sonnets are formally now described as addressing a ‘Fair Young Man’, perhaps aristocratic by birth: and some of them do indeed use male connotations for their subject, just as the last 28 poems plainly allude to a female. But the fact is that Sonnet 57 achieves its strenuous precision by telling us nothing ...”