The Chaperone review – dishing dirt in well-turned hats and hair

Semi-true story from Julian Fellowes sets churchgoing Kansas lady the challenge of keeping the girl about to become Louise Brooks in line in 1920s New York

Written by Julian Fellowes, who brought us Downton Abbey and recent series The Gilded Age, and directed by Michael Engler, who worked on both the aforementioned, this based-extremely-loosely-on-fact costume drama adapted from a novel by Laura Moriarty should hit the sweet spot for fans of Fellowes’ particular variety of saucy-soapy period pieces. Like so much of Fellowes’ work, it effectively flatters the viewer by assuming he or she must be familiar with certain historical figures (in this case, early cinema star Louise Brooks) and then appears to dish the dirt on them through the eyes of a character from another class or at least different social sphere.

Here, that parallax view is from the perspective of Norma – played by Lady Grantham herself, Elizabeth McGovern, taking a lead role for a change. When first met in 1922 in Wichita, Kansas, Norma seems like a nice, churchgoing lady of a certain age, respectably married to a lawyer (Campbell Scott) and mother of two practically grownup sons. When she hears that local pianist Myra Brooks (Victoria Hill) is in search of a chaperone to accompany her precocious but exceedingly talented teenage daughter Louise (Haley Lu Richardson) to New York to attend a prestigious dance school, Norma mysteriously jumps at the chance. Turns out she has a good reason: she was actually raised in an orphanage there for a short while before being adopted by kindly midwestern farmers, and now wants to find her birth parents.

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‘A certain pleasant darkness’: what makes a good fictional sex scene?

The novelist Niamh Campbell on why describing intimacy is so difficult and how creative writing about sexuality is changing. Plus, she picks 10 of her favourite examples

One of my favourite literary sex scenes is a swift and quiet one. In Colm Tóibín’s The Pearl Fishers, a gay man having dinner with a former lover and this lover’s – fanatically Catholic – wife thinks, with a flash of candidness, of anilingus past. It doesn’t read like a calculated shock, just pleasure; the story moves on and the image melts out. No point is made, nobody humiliated, no corny gotcha! occurs. There are only three people: one deceiving (husband), one pious (wife) and one emboldened but alone. The point is nuanced humanity. It’s hot.

It has been remarked upon that recent writing about sex by, in the main, young women tends towards the squalid, abject and confrontational. I can tell you that this partly down to the fact that app-based erotic culture in the metropolises of late capitalism really can be squalid, abject and confrontational. If people’s lives become miserable mills of boredom and humiliation they will tend to take it out on one another. I know this because I am Irish. People think this country was deranged for most of the 20th century by the church, but it was also deranged by poverty and, relatedly, shame. #NotallIrish of course; some people belonged to a more sex-positive cosmopolitan elite class, some were able to smuggle in condoms. And yet, the fact that it still feels impossible to discuss sex and Ireland without mentioning penitentiary laundries says a lot.

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The big idea: is it time to stop worrying about stress?

Our beliefs about difficult feelings may do more damage than the feelings themselves

In the late 19th-century America, a somewhat bizarre form of abstinence emerged. The vice was not alcohol but anxiety. Citizens of New York began to attend regular “Don’t Worry Clubs” in which they encouraged each other to look on the bright side of life. Their founder, Theodore Seward, argued that Americans were “slaves to the worrying habit”, which was the “enemy which destroys happiness”. It needed to be “attacked” with “resolute and persevering effort”.

By the early 20th century, the psychologist William James described how people had developed a kind of “religion of healthy-mindedness” with the aim of turning the mind away from all negative thoughts and feelings.

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Myanmar’s first literary work since coup reveals ‘courage and altruism’ of writers

Picking Off New Shoots Will Not Stop the Spring was born from a desire to preserve online expressions of outrage, grief and dissent, say editors

The first literary work to emerge from Myanmar since the military seized control of the country a year ago reveals the altruism and courage of a new generation of writers, its editor has said.

Picking Off New Shoots Will Not Stop the Spring is an anthology of poems and essays, many of which were written during the military crackdown after last February’s coup. Others date from 1988 to 2020.

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Too close for comfort: the pitfalls of parasocial relationships

Social media means adoring fans can keep up with the ins and outs of their favourite celebrities. But for those in the public eye, a dedicated fanbase isn’t always all it’s cracked up to be – especially for women

A few years ago, I had a fan. She had read my writing and listened to my podcast, and often replied warmly to my tweets. Occasionally, she would send me private messages, and eventually I started following her back. It was nice. At some point, the volume of communication increased – I began receiving emails, and the notifications and messages spread to Instagram. Then they grew more frequent, uncomfortably so. She wanted things from me: to work for me, to meet up with me, to know how my weekend had gone, to tell me how hers had gone, to tell me about the job she disliked, for me to help her with a project she was launching.

My heart began to sink whenever I saw her name appear on my phone and I started responding less and less in the hope of discouraging her overtures. Then she came to an event I’d organised – the first time we’d actually met – and to my mortification, presented me with a bundle of gifts (which I obviously sent a thank you message for – I’m not a monster).

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I’ll fight to overturn US ban on my ‘Queer Bible’, says British author

Former model Jack Guinness caught up in furore over Mississippi mayor’s attempt to withhold funding for library until ‘homosexual materials’ are withdrawn

A British writer, presenter and former model says he is shocked to find himself at the centre of an unprecedented wave of book banning in the US.

A Mississippi mayor has told the Madison County Library to remove LGBTQ+ books from its shelves or lose funding. One of the books singled out as an example was The Queer Bible, a collection of LGBTQ+ history essays edited by Jack Guinness. Ridgeland’s Republican mayor, Gene McGee, has refused to release funds to the library until “homosexual materials” are withdrawn.

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Dr Julie Smith: ‘Mental health is no different to physical health. No one is immune’

The clinical psychologist has 3 million followers for her self-help TikToks and now her book is a bestseller. She talks about social media, the pandemic and the simple tools that really help

Dr Julie Smith, 37, is a clinical psychologist who has a private practice in Hampshire and has spent 10 years working for the NHS. In November 2019, she started making TikToks containing clear, engaging advice about various mental health issues. She has more than 3 million followers and in January published her first book, Why Has Nobody Told Me This Before?, which has spent four weeks at the top of bestseller lists.

There are a lot of self-help books published; why do you think yours has struck a chord?
I think people like the fact that it’s evidence-based. I’m a clinical psychologist, so the things I’ve put in there have been scrutinised with the latest research and they are things that are taught to people in therapy, depending on what they’re going to therapy for. They are also life skills that we can all use.

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The Great Gapsby? How modern editions of classics lost the plot

F Scott Fitzgerald’s masterpiece is the latest title to appear in a cheap modern version after copyright expires

“So we beat on, boats against the current, borne back ceaselessly into the past.” It is one of the most memorable literary payoffs in history, the end of F Scott Fitzgerald’s defining novel of the 20th century, The Great Gatsby.

Yet this famous ending will be lost to many readers thanks to the proliferation of substandard editions, one of which loses the last three pages and instead finishes tantalisingly halfway through a paragraph.

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Margaret Atwood joins writers calling for urgent action over missing Rwandan poet

More than 100 authors from around the world have written to the Rwandan president about the case of Innocent Bahati, who disappeared a year ago today

Margaret Atwood, Ben Okri and JM Coetzee have joined more than 100 writers from around the world in calling on the Rwandan president to intervene in the case of the poet Innocent Bahati, who disappeared one year ago today.

According to human rights organisation PEN International, Bahati was last seen at a hotel in Nyanza district, in the Southern Province of Rwanda, on 7 February 2021. The poet, who is well-known in Rwanda and had published poetry on YouTube and Facebook, as well as regularly performing at live events, failed to return to Kigali, and his phones have been switched off since.

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Death on the Nile review – Kenneth Branagh makes heavy weather of Christie caper

Branagh’s spirited performance as Poirot and a big-name ensemble cast can’t keep this stale and two-dimensional whodunnit afloat

Long coronavirally delayed, Kenneth Branagh’s latest Agatha Christie movie puffs effortfully into harbour. It’s the classic whodunnit about a murder on a steamer making its way down the river in Egypt with an Anglo-American boatful of waxy-faced cameos aboard. The horrible homicide means that one of the passengers will have to spring into action, and this is of course the amply moustached Hercule Poirot, played by Branagh himself. It is Poirot who interviews suspects, supervises corpse-storage in the ship’s galley freezer cabinet and delivers the final unmasking – and all without the captain insisting that the Egyptian police should possibly get involved.

Screenwriter Michael Green has adapted the 1937 novel with some new inventions: some people of colour are introduced, and Christie’s intense dislike for her wealthy-hypocrite leftwing character has been dialled down. Most startlingly, Green invents a very good prelude showing the young Poirot’s service in the trenches of the first world war, and the origin of that moustache. Nothing in the rest of this rather stale and two-dimensional tale matches the brio of that opening.

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‘Adults are banning books, but they’re not asking our opinions’: meet the teens of the Banned Book Club

Conservatives are pushing to ban books from school libraries. At a time of crisis, a group of Pennsylvania teenagers are fighting back

“Napoleon’s use of the sheep was notable,” says Jordan Daughtry, 14. She’s clutching a copy of Animal Farm, and referring to the authoritarian Berkshire boar who seizes control of an English acreage, before bending his fellow animals to his will.

The sheep, who represent the unwitting masses in George Orwell’s critique of Joseph Stalin’s totalitarian rule, are “ignorant buffoons”, Daughtry says.

Kiara Daughtry, left, and Lena Cackley.

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Forget Wordle! Can you crack the Dickens Code? An IT worker from California just did

The writer’s archaic shorthand has baffled experts for over a century. So they launched a deciphering competition for fans – with stunning results that cast new light on his love life and financial peril

Despite all the precision he brought to bear on his intricate plots, Charles Dickens was a notoriously messy writer. His manuscripts are full of inky splodges, with barely legible alterations crammed in between scrawled, sloping lines. Worse still was his love of a type of shorthand dating from the 1700s. To this, he added his own chaotic modifications to create what he called “the devil’s handwriting”.

Fond of puzzles and codes, the great Victorian writer used these time-saving hieroglyphics to make notes and copies of his letters and documents, reams of which he burned. Academics are still toiling to decipher 10 shorthand manuscripts that survived. Forget Wordle. This is the Dickens Code. And for a long time, it had seemed uncrackable.

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Red poets’ society: the secret history of the Stasi’s book club for spies

For seven years, the East German security service’s poetry group met in Berlin to discuss literature. But there was more to it than just learning about iambic pentameter

At the height of the tense second phase of the cold war, a group of Stasi majors, propaganda officers and border guards convened at a heavily fortified compound in socialist east Berlin. From spring 1982 until winter 1989, they gathered once every four weeks, from 4pm until 6pm, at the House of Culture inside the premises of the Felix Dzerzhinsky Guards Regiment (the Stasi’s paramilitary wing), in Berlin’s Adlershof district. They met in a first-floor room adorned with portraits of East German leader Erich Honecker and Vladimir Ilyich Lenin that was closed with a security seal overnight.

But the Stasi men did not gather to gameplan nuclear war scenarios, work up disinformation campaigns or fine-tune infiltration techniques. They set out to learn about iambic pentameter, cross-rhyming schemes and Petrarchan sonnets. The group, which internal memos referred to as the Working Circle of Writing Chekists (a reference to the fearsome Bolshevist secret police, the Cheka), produced two anthologies over this seven-year period. I got hold of a copy of one shortly before I moved to Berlin in 2016. The slim paperback, its title Wir Über Uns (“We about us”) falling down the front page in curling calligraphic letters, felt like something out of a Monty Python sketch, or a spin-off from the film The Lives of Others. How had a secret police synonymous with the suppression of free thought ended up writing poetry? Over the coming months I tried to track down former members of the circles, and contacted them to see if they could tell me more.

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I was shooting coke between chapters of Dostoevsky – but eventually books would save me from addiction

At first, I could hardly get through a novel. But slowly reading – and writing – saved me from a life of drugs, rehab and jail

When I was in tenth grade in Tampa, Florida, I was, like millions of other high school students, assigned to read The Catcher in the Rye for English class. Like millions of other high school students, I was extremely fragile. I was holding on by a thread. I was 15 and spent much of my time at school, on the days I would go, doing OxyContin, Xanax, cocaine and speed in the bathroom. I jittered and itched through class, and my internal life was, to say the least, stifled. It would continue to be stifled for the next few years, until it became so claustrophobic that I attempted suicide. Needless to say, I was pretty hit or miss with school assignments. But I had always liked to read. I decided to crack Salinger’s book and read a chapter or two. I stayed up all night and finished it. I came into class the next day wired, eyes wide: it felt as if I had been hooked up to a car battery. I remember walking into the classroom and saying to my English teacher, “What the hell was that?”

I didn’t know anything about the book. I didn’t know that the men who shot John Lennon and Ronald Reagan were both obsessed with it. I didn’t know that it was the subject of endless think pieces debating the ethical ramifications of Holden Caulfield’s character. I didn’t know Salinger stormed the beaches on D-Day, carried scars from his years in war. I just got sucked in. It is a funny, polarising little book. I remember my girlfriend at the time saying she hated it, that she couldn’t get through it. But my teacher told me that every year at least one person does what I did, gets hooked up to the car battery. Looking back, it makes sense that someone in my particular situation would have this reaction to it. In fact, it is almost embarrassing just how cliched it is. But that’s what happened. And, in what would become a theme of my life, what stuck with me more than any of the particular content of the book was the feeling of being sucked in, of losing time trapped in someone else’s words and turbulent emotions.

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Marian Keyes: ‘Rehab was one of the happiest times of my life’

As her beloved character Rachel returns, older and sober, the Irish author discusses her own journey from addiction to recovery - and the sexist snobbery that surrounds her work

Marian Keyes is in bed. It’s two o’clock in the afternoon, but she has just got back from a funeral and was feeling chilly. “It was a beautiful send off,” she says in her southern Irish lilt, as reassurance that she’s OK to talk. She is wearing a lilac hoodie and flashes a pastel pink manicure (a Keyes heroine would know the shade) as she rearranges the pillows to get comfy. Within a few minutes it feels as if we are both having tea and biscuits under the duvet at her Dún Laoghaire home outside Dublin, as she gives me a virtual tour of her bedroom.

So far, so Marian Keyes. Loved by readers for her chatty style and satisfying storylines, she was for many years dubbed the queen of chick lit, a phrase now as passé as Daniel Cleaver’s chat-up lines in Bridget Jones’s Diary. In fact, her novels have tackled hefty issues such as addiction (Rachel’s Holiday), bereavement (Anybody Out There), domestic violence (This Charming Man) and depression (The Mystery of Mercy Close), always with her trademark lightness of touch. Yet despite selling more than 35m copies over the years, she is too often dismissed as a popular writer of books with pink covers (both of which are fine by her, thanks for asking).

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Trump risked disaster with Abbas praise in key Israel meeting, ambassador says

In new book, David Friedman recounts private meeting with Israeli president in which Trump also knocked Netanyahu – and how he says he turned his man around

Meeting then-Israeli president Reuven Rivlin in Jerusalem in May 2017, Donald Trump stunned advisers by criticising the then-prime minister, Benjamin Netanyahu, for being unwilling to seek peace while Mahmoud Abbas, the Palestinian leader, was “desperate” for a deal.

The comment “knocked everyone off their chairs”, David Friedman, Trump’s ambassador to Israel, writes in a new book.

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The Betrayal of Anne Frank by Rosemary Sullivan review – who tipped off the Nazis?

Despite controversy surrounding its findings, the work of a ‘cold case team’ powerfully illuminates what it was like to live under a genocidal regime

On 4 August 1944 Gestapo officer Karl Josef Silberbauer, together with three Dutch policemen, marched into a spice merchant’s on Amsterdam’s Prinsengracht and demanded: “Where are the Jews?” It was a piercing moment in 20th-century history, one that never becomes dulled by retelling. Within minutes Silberbauer and his accomplices had located a dummy bookshelf, behind which lay a secret suite of rooms where two families had been hiding for two years. Placed under arrest, these eight men and women were subsequently sent to concentration camps in the east from which only one, the business’s owner, Otto Frank, returned.

We know all this because one of Frank’s first postwar acts was to publish the journal that his 15-year-old daughter had kept during their immuration. The Diary of Anne Frank became a canonical text, one of the few accounts we have of living through Hitler’s Final Solution in real time. And it is Anne’s face – peaky, clever, ferociously alive – that has become the emblem of all the evil unleashed by antisemitism in Europe’s terrible mid-century. Yet despite the story being so familiar, there is one detail that remains a mystery. Who tipped off the authorities that there were people hiding at the back of Prinsengracht 263?

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The big idea: is going vegan enough to make you – and the planet – healthier?

Simply avoiding meat and dairy isn’t going to cut it if you still turn to ultra-processed foods

Did you change what you ate or drank for January? The start of the year is an annual cue for a Pandora’s box of diet demons to be released; from meal replacements and super-keto diets to slimming teas. Alongside these trends live the regular and more ethical health-conscious messages of dry January and Veganuary, both of which have grown in popularity and have a much cleaner public image. Despite that, they are still not perfect. So this year I’d like to propose another idea that hopefully has longer staying power: call it the “real food revolution”.

The premise of Veganuary is simple: use the pivotal month of January to make a big change to your diet, your health and the planet’s health by cutting out animal products. Veganuary is a not-for-profit charitable company that provides recipes and motivational emails to help you give up meat and dairy products for just one month, with, ideally, positive effects on your waistline and your carbon footprint. Overall, they do a great job, and there is plenty of evidence to support the efficacy of reducing animal-based foods for our health and our planet’s survival. We now know that agriculture is responsible for about 25% of global heating and the single most important action we as individuals can do to help address the climate crisis is not to give up cars, but to eat less meat.

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Bootleggers, bondage and law-breaking bashes! The scandalous history of the wild party

From Prohibition-busting cocktail parties to all-night raves, illegal gatherings have been at the centre of modern culture for decades. So why do they still have the power to shock?

For more than a month now, the press has been full of stories of “illegal” parties in Downing Street. The government, we are told, has almost ground to a halt because of the scandal.

Given the coverage, one might easily get the impression that the law-breaking bash is a recent invention, something that could only happen in lockdown, driven by privilege and an unhealthy sense of entitlement. Yet the modern party began life as a crime just over a century ago, when the Volstead Act banned the production and sale of alcohol in the US. As the New York Times explained in 1920:

You cannot carry a hip flask.
You cannot give away or receive a bottle of liquor as a gift.
You cannot take liquor to hotels or restaurants and drink it in the public dining rooms.
You cannot buy or sell formulas or recipes for homemade liquors.
You cannot …

“Oh,” said the Bright Young People. “Oh, oh, oh.”

“It’s just exactly like being inside a cocktail shaker,” said Miles Malpractice.

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‘The outrage had been percolating…’ The winner of our graphic short story prize 2021

A funeral in Germany provides the setting for our winning story in this year’s Cape/Observer/Comica award for emerging cartoonists. It was a year of fierce competition – and much pandemic-fuelled anxiety

There can’t be many things more cheering on a dark January night than having to tell someone they’ve won a prize, and when I telephone Astrid Goldsmith to give her just such a bit of good news, her reaction is everything I hoped it would be. For a while, Goldsmith, an animator who lives in Folkestone where she makes stop-motion films in her garage, struggles to speak in full sentences. She is just so thrilled. “That is the greatest compliment,” she says, when I tell her that her story, A Funeral in Freiburg, the winner of this year’s Observer/Jonathan Cape graphic short story prize, brings to mind the work of that genius Posy Simmonds. “I love her tone. I always have.”

Goldsmith’s entry is based on a real event: the funeral of her paternal grandmother in Germany in 2015. “The outrage had been percolating for a while,” she says, with a laugh. “But I only came to write it after my first baby was born, while I was breastfeeding: I drew it all on one of those trays with arms that invalids use in bed.” Her story revolves around the difficulties involved in organising a Jewish funeral service in a place – Freiburg, in the Black Forest – where the rabbi has been imprisoned for embezzlement, and the Jewish cemetery is full. The woman in charge is, very difficult, refusing even to believe that Gisela Goldschmidt was really Jewish (at the age of 18, Astrid’s grandmother fled Germany for Zimbabwe, only returning after the war was over). Her rules and regulations, not to mention her insistence on the performance of certain rituals, infuriate the Goldsmith family. But what choice do they have? It is a case of her way, or no proper funeral at all.

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