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“... is reported to have heard it. And all eight musicians in the orchestra drowned, Wallace Hartley, leader of the White Star Orchestra, with his violin case strapped to his chest. These details can be found in the 40-page booklet accompanying Whitcomb’s Titanic – Music as Heard on the Fateful Voyage, a CD which claims to reproduce ‘what was really played ...”

“... Edwin Mullhouse etc is by far the most interesting and inventive of the three novels under review. It is also, with all its knowing brilliance, the most irritating – relentlessly clever, frequently cloying. The story it tells is that of the life and aesthetically pleasing death by suicide of Edwin, 11-year-old author of Cartoons, a novel, we are told, of genius ...”

“... What happened to Britain’s men in the quarter-finals at Wimbledon? Twenty-four hours earlier, Tim Henman had beaten Richard Krajicek, last year’s winner and the No. 4 seed. In his first match Greg Rusedski had eliminated Mark Philippousis, winner at Queen’s and the No. 7 seed. Although both Britons (Rusedski was raised in Canada but his mother is British) had already defeated more highly ranked players than their unseeded quarter-final opponents, they were terrible ...”

“... Colson Whitehead’s first novel, The Intuitionist (1999), won several prizes and extravagant praise from American critics. Whitehead is black and comparisons were made to Ralph Ellison, Toni Morrison and Ishmael Reed. John Updike has called him ‘blithely gifted’, ‘the young African-American writer to watch’. Whitehead’s new novel, John Henry Days, is longer and more ambitious than The Intuitionist, and the suggestion in its title of mythic black strength and suffering, together with its encyclopedic range, raise epic expectations ...”

“... The most striking feature of contemporary Australian writing – or so it is now claimed – is the robust health of its fiction, notably of two contrasting fictional modes: the short story and the massive novel of national identity. Poetry, the dominant genre of the late Sixties and early Seventies, no longer holds undisputed pride of place, a development attributed in part to the proliferation of state and academic subsidy, in particular the creation in 1973, by the Whitlam Labour Government, of the Literature Board of the newly-formed Australia Council ...”

“... Robert McLiam Wilson was born in 1964, which means that Ripley Bogle, his first novel, was written in his early twenties. The novel’s qualities are those of immodest youth: it is ambitious, energetic, self absorbed, bursting with hormonal vehemence and self-consciousness. Structure and sequence (or plot) are not its strong points. The good bits are bits, hit you straight on, and mostly have to do with the narrator-protagonist, his wishes, delusions, comical pretensions and embarrassments ...”

“... The no-bullshit newsman as hero is a staple of film and genre fiction. To Pete Dexter, though, the type is deeply suspect. Dexter has been a newspaperman most of his working life, first as a reporter, for the local West Palm Beach Post (1971-72), then as a staff writer and columnist for the Philadelphia Daily News (1972-84) and now for the Sacramento Bee ...”

“... Being a boy is not always easy. These two childhood memoirs differ in important respects, but they agree about the problematic nature of boyhood pleasure. Gary Paulsen’s ‘Autobiographical Odyssey’ follows in the wake of his 1995 memoir, Winterdance, a much-praised account of dog-sled racing in Alaska. Though he is only now gaining a reputation in Britain, Paulsen has published over 150 books in the United States, many for children and ‘young adults’, specifically boys ...”

“... Personal identity, according to Locke, is a creation of memory. The American writer Tobias Wolff has already published one volume of memoirs. Now, at the age of 49, he has produced a second. Who can blame him? His father was a conman and impostor: Arthur Samuels Wolff, aka Arthur Saunders Wolff III, aka Saunders Answell-Wolff III, the ‘Duke’ of Tobias’s brother Geoffrey’s memoir, The Duke of Deception (1979 ...”

“... By the end of his life Orson Welles weighed 350 pounds. His appetite, though, was not a late development. In Simon Callow’s biography the composer Virgil Thomson reports the 22-year-old actor-director devouring ‘oysters and champagne, red meat and burgundy, dessert and brandy’ immediately before squeezing into a canvas corset to play Brutus in Julius Caesar ...”

“... Nora Sayre’s account of American intellectual life in the Fifties, part memoir, part documentary record, begins with her writer parents and the people she met in their living room in New York: Edmund Wilson, James Thurber, Walker Evans, James M. Cain, Nunnally Johnson, S.J. Perelman, Dawn Powell, Joseph Mitchell and John O’Hara. Many of these celebrated figures, artists and authors approaching fifty at the start of the decade or only lately past it, grew up in small provincial towns, emigrated to New York in the Jazz Age and worked together in the city rooms of the Herald Tribune and the New York World ...”

“... the orchestra play ‘Vladimir Tostoff’s Jazz History of the World’, a piece the orchestra leader describes as having ‘attracted so much attention at Carnegie Hall last May’. Nick, the novel’s narrator, is vaguely superior about the piece: ‘The nature of Mr Tostoff’s composition eluded me.’ In Trimalchio the last name of the composer is ...”

“... Size matters – especially in business. In the quarter-century following the American Civil War, consolidation – in the form of trusts, mergers, monopolies, syndicates and cartels – transformed the US economy, revolutionising transport, communications and industrial production. The industrialists and financiers who shaped the new economy regarded its international ascendancy as natural and inevitable ...”

“... Of course I like my country,’ Gore Vidal has written. ‘After all, I’m its current biographer.’ With the publication of The Golden Age, the biography draws to a close. The novels which comprise it, to list them in order of the historical periods they cover, are Burr (1973), Lincoln (1984), 1876 (1976, of course), Empire (1987), Hollywood (1989), Washington, DC (1967) and now The Golden Age ...”

“... a historical question about women such as Virginia Woolf’s imaginary Judith Shakespeare, which Zachary Leader, determined to leave no aspect of the topic unexamined, tries to answer in his final pages. Peculiar to one profession it may be, but as this intelligent, and only from time to time laborious study frequently reminds us, the condition cannot ...”