Hanya Yanagihara: ‘I have the right to write about whatever I want’

To Paradise, the new novel from the writer of A Little Life, has been widely hailed as a masterpiece. But where did she get the unflinching eye she turns on America’s idea of itself?

Hanya Yanagihara’s debut novel taught her not to give up her day job as a travel writer and editor. The People in the Trees was the story of a scientist jailed for sexually abusing children he adopted during his Nobel-winning research on a Pacific island. It impressed reviewers with its exhaustive inventiveness and its refusal to offer redemption or solace, but sold only a few thousand copies when it was published in 2013.

Two years later, the Manhattan-based writer released a novel that was twice as long and even less forgiving. It was about the fallout, among four college friends, from the appalling childhood sexual abuse of one of their group, and it hit the jackpot, becoming one of those vanishingly rare literary break-outs. Victoria Beckham and Dua Lipa declared themselves fans, while an equally passionate group of readers condemned it as gratuitous, even “evil”. A Little Life sold a quarter of a million print copies in the UK alone, where it was shortlisted for the Booker and the Women’s prize for fiction. But far from giving up her day job, Yanagihara took on a bigger one, as editor-in-chief of T, the New York Times style magazine.

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Harlan Coben: ‘I used to write in the back of Ubers’

The writer, 59, on working in a disco, being an introvert and growing up Jewish

In college I worked as a tour guide on the Costa del Sol. It was a weird scene. I saw some wild stuff; some violence I’d like to forget. I lived in one hotel room with four or five people for a while. I worked in a discotheque. But it inspired my first attempt at really writing. I needed to get it all down.

I think most writers have impostor syndrome. On the one hand you think, “I suck, I’ve got nothing to say, this isn’t working at all,” and the next moment you have the hubris to say, “I’m going to write 500 pages and people are going to pay me to read it.”

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Gemma Chan on the truth about her father’s life at sea: ‘He knew what it was like to have nothing’

The actor knew her father had served in the merchant navy, but it wasn’t until she read about Britain’s mistreatment of Chinese seamen in the 40s that she understood just how much his experiences had shaped her family

“Take the rest of the noodles and the pak choi and you can have it for your lunch tomorrow.” My dad pushed the takeaway containers and their remaining contents across the table towards me.

“I’ve got loads of food at mine, why don’t you and Mum keep it?” I protested. I knew he’d insist I take the leftovers with me. This routine would always play out at the end of family dinners once I’d left home and, this time around, it felt both familiar and oddly comforting – because it had been a while since our last dinner.

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Trinity College Dublin begins €90m project to relocate vulnerable books

Restoring and moving 750,000 volumes and ancient manuscripts expected to take five years

It is known as Ireland’s “front room”, where esteemed visitors including the Queen, Joe Biden, Emmanuel Macron and the Duke and Duchess of Sussex have been taken to get a sense of the “land of saints and scholars”.

Biden, vice-president at the time, was so moved by the atmospherics in the dimly lit, barrel-vaulted hall when he visited Trinity College Dublin (TCD) in 2016 that he came back a year later to contemplate the history of its old library, known as the Long Room.

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Literary mystery may finally be solved as man arrested for allegedly stealing unpublished books

Filippo Bernardini is accused of impersonating publishing figures to steal manuscripts, in scam that has stumped authors and editors for years

A mysterious fraudster who impersonated publishers and agents to steal book manuscripts in an international phishing scam may have finally been caught, with the FBI arresting a 29-year-old man at John F Kennedy airport in New York on Wednesday.

Filippo Bernardini, an Italian citizen who worked at UK publisher Simon & Schuster, was arrested upon landing in the US on Wednesday. The FBI alleged that Bernardini had “impersonated, defrauded, and attempted to defraud, hundreds of individuals” to obtain unpublished and draft works.

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How The Lost Daughter confronts one of our most enduring cultural taboos

Maggie Gyllenhaal’s directorial debut, adapted from the short novel by Elena Ferrante, unravels the myth that motherhood comes naturally to women

It is clear from the opening minutes of The Lost Daughter, Maggie Gyllenhaal’s melancholic, bristly directorial debut on Netflix, that a dark secret stalks the sunny Mediterranean vacation of Leda Caruso, (a luminous Olivia Colman), a 48-year-old English professor of comparative literature. Her “working holiday” at a Greek island is immediately beset by increasingly ominous intrusions: a spectral foghorn, a bowl of rotting fruit, a shrill cicada, a boisterous Italian American family from Queens who disrupt her beachside reading. Memories pull at her focus; when the young daughter of Nina (Dakota Johnson), a beautiful, languid member of the Queens bunch who immediately catches Leda’s attention, goes briefly missing, Nina’s panic elides with a flashback to twentysomething Leda’s (Jessie Buckley) frantic search for her daughter Bianca at a beach.

It’s a familiar language of buried secrets, sinister subtext and unspooling memories – the building blocks of suspense – but the landmines in The Lost Daughter aren’t the usual culprits of dark revelation: unspeakable trauma or abuse, evil spirits, suppressed desires, the ravages of capitalism or greed. Instead, the molten core of The Lost Daughter is one of our culture’s most enduring and least touchable taboos: the selfish, uncaring, “unnatural” mother – one who doesn’t shift easily to care-taking, who does not relish her role, who not only begrudges but resents her children.

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‘People said I didn’t have enough talent’: the rise of Italy’s graphic novel gonzo

Michele Rech aka Zerocalcare’s book signings attract huge crowds and now he has a hit Netflix animated series inspired by his life

Michele Rech is uncomfortable with success. The shy 38-year-old comic book artist, who works from a modest apartment on the outskirts of Rome, does not use the word “fame” but refers instead to his rise to national prominence as a “thing” he struggles to manage.

In the art world, he is known as Zerocalcare and is the cartoonist’s equivalent of Hunter S Thompson. Rech’s graphic novels are a form of gonzo journalism – inspired by his own adventures as a protester on the frontlines of police violence in Italy, and in Syria, where he was embedded with Kurdish forces.

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Author says memoir of communist Albania met with ‘vicious’ abuse

Lea Ypi says vocal minority of Albanians have sent torrent of online insults criticising her bestseller, Free

A memoir about growing up before and after the fall of communism in Albania has won rave reviews in the west but has prompted “vicious” abuse from a vocal minority of Albanians, its author says.

Free by Lea Ypi, a Marxist Albanian professor of political theory at the London School of Economics, might seem an unlikely bestseller.

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We often fail to keep resolutions – but writing in a notebook brings great rewards

Scribbling down our thoughts is a great way to make sense of things – and very satisfying

In 1989, when I was 16, I moved into a pub with my parents and my younger brother, Matty. It was highly exciting. I took to barwork as I liked the chat, and also enjoyed the opportunities offered for eavesdropping. I was curious about the adult world and up until then had learned most of what I knew from books. Now I had all these real lives to study. I should write some of this down, I thought, and would scribble into my diary before bed.

We couldn’t believe how busy it was that first Christmas, culminating on New Year’s Eve, when everyone piled out into the main street at midnight and exchanged drunken embraces and warm wishes for 1990. After the pub had emptied and the mammoth job of clearing up was done, we gathered with our staff for a few drinks and the chat turned to resolutions. All the women wanted to lose weight. A couple of people wanted to stop smoking. I announced very firmly that I wanted to write a novel.

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Your attention didn’t collapse. It was stolen

Social media and many other facets of modern life are destroying our ability to concentrate. We need to reclaim our minds while we still can

When he was nine years old, my godson Adam developed a brief but freakishly intense obsession with Elvis Presley. He took to singing Jailhouse Rock at the top of his voice with all the low crooning and pelvis-jiggling of the King himself. One day, as I tucked him in, he looked at me very earnestly and asked: “Johann, will you take me to Graceland one day?” Without really thinking, I agreed. I never gave it another thought, until everything had gone wrong.

Ten years later, Adam was lost. He had dropped out of school when he was 15, and he spent almost all his waking hours alternating blankly between screens – a blur of YouTube, WhatsApp and porn. (I’ve changed his name and some minor details to preserve his privacy.) He seemed to be whirring at the speed of Snapchat, and nothing still or serious could gain any traction in his mind. During the decade in which Adam had become a man, this fracturing seemed to be happening to many of us. Our ability to pay attention was cracking and breaking. I had just turned 40, and wherever my generation gathered, we would lament our lost capacity for concentration. I still read a lot of books, but with each year that passed, it felt more and more like running up a down escalator. Then one evening, as we lay on my sofa, each staring at our own ceaselessly shrieking screens, I looked at him and felt a low dread. “Adam,” I said softly, “let’s go to Graceland.” I reminded him of the promise I had made. I could see that the idea of breaking this numbing routine ignited something in him, but I told him there was one condition he had to stick to if we went. He had to switch his phone off during the day. He swore he would.

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Britain got it wrong on Covid: long lockdown did more harm than good, says scientist

A new book outlines the mistakes and missteps that made UK pandemic worse

There was a distinctive moment, at the start of the Covid-19 pandemic, that neatly encapsulated the mistakes and confusion of Britain’s early efforts to tackle the disease, says Mark Woolhouse. At a No 10 briefing in March 2020, cabinet minister Michael Gove warned the virus did not discriminate. “Everyone is at risk,” he announced.

And nothing could be further from the truth, argues Professor Woolhouse, an expert on infectious diseases at Edinburgh University. “I am afraid Gove’s statement was simply not true,” he says. “In fact, this is a very discriminatory virus. Some people are much more at risk from it than others. People over 75 are an astonishing 10,000 times more at risk than those who are under 15.”

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On my radar: Moses Sumney’s cultural highlights

The singer-songwriter on Balenciaga’s visions, the mountains of North Carolina, and the haunting power of Eve’s Bayou

Singer-songwriter Moses Sumney, 29, grew up between Ghana and California and studied creative writing and poetry at UCLA. His piercing falsetto and genre-defying music have brought him critical acclaim, starting with his self-recorded 2014 EP Mid-City Island, followed in 2017 by his debut album, Aromanticism, and the 2020 double album Græ. Sumney has collaborated with musicians including Bon Iver and James Blake and toured with Solange and Sufjan Stevens. His latest project is Blackalachia, a self-directed concert film created in association with WePresent, shot over two days in the Blue Ridge Mountains of western North Carolina, where he lives.

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Go bush for the books: Rosalie Ham reckons you never know who you’ll run into

The Dressmaker author says literary events in country Australia are all about ‘discussing, catching up and laughing’. Here are some planned for 2022

Rural readers are in for a bumper crop of established and emerging writers festivals taking place in country regions throughout 2022, a harvest that also offers plenty of flavour to city-dwelling book lovers seeking literary-themed getaways.

Jerilderie-born author of The Dressmaker, Rosalie Ham, says events in the bush have always provided a great excuse for a reunion of like minds. Her extensive literary circuit all began with an invitation to talk at a writers festival in country Victoria.

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Books and films censored under Franco still circulating in Spain

Dictator who died in 1975 stamped out mention of Spanish civil war, sexuality and anti-Catholic views

A Spanish association has called for an investigation into the enduring legacy of censorship during the Franco regime after it emerged that censored versions of books and films are still circulating more than four decades after the dictator died.

Emilio Silva, the president of Spain’s Association for the Recovery of Historical Memory, sounded the alarm earlier this week after he stumbled upon a different version of the 1946 film It’s a Wonderful Life on television.

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‘We would discuss how dislikable I was’ – what’s it like to see your life story on TV?

Telling your story in a book is hard enough. But what if it ends up on screen? Adam Kay, writer of This Is Going to Hurt, and Dolly Alderton, who penned Everything I Know About Love, relive the shocks

Most people find seeing themselves on screen distinctly squirm-inducing. Even an unintended glance in the mirror can trigger a minor identity crisis, as we glimpse the gulf between how others see us and how we imagine ourselves. But for writers whose life stories are adapted for television – their flawed personalities painstakingly recreated by actors – the experience can be even more bewildering.

“Bizarre is the only way to describe it,” reflects Adam Kay, whose 2017 bestseller This Is Going to Hurt, a memoir of his hellish and hilarious years as a junior doctor, lands in 2022 on BBC One. On TV, Kay is played by Ben Whishaw, who evidently took his research seriously. “I watched an early cut with my husband,” Kay recalls, “and he said: ‘It’s amazing how he’s got all of your weird mannerisms.’ I didn’t even realise I had weird mannerisms!”

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Healing myself the Pagan way: how witchcraft cast a spell on me

Witchcraft and its deep connection with nature restored my mental health

Witchcraft has always played a large role in my life. While many kids were learning badminton or taking trombone lessons, I was reading up on spellcraft and ways to plant my herb garden. I grew up in the late 1990s when my cultural life became saturated with Buffy the Vampire Slayer, Charmed and Sabrina the Teenage Witch. Channel-hopping without stumbling across a young woman with magical powers was virtually impossible. But the draw wasn’t just the empowerment that spells and telekinetic forces threw my way; I was intensely charmed by witchcraft’s connection with the world outside and the earth around me.

In the evenings I spent time in my garden wrapped up in scarves and blankets to watch the different phases of the moon pass each night; I learned the names of wildflowers growing at the side of the road where no one cast a second glance and wondered how I could use them in a spell. These small things gave me an overwhelming sense of calm, so enthralled was I by constellations, intricate root systems and the dashes of magic I found around me. Perhaps witchcraft was in my blood – my very first word was “moon”.

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Anna & Dr Helmy by Ronen Steinke review – the Schindler of the surgery room

This meticulous account of the Arab doctor who sheltered a Jewish girl in 1930s Berlin is a remarkable story of subterfuge and courage

The Yad Vashem Holocaust memorial in Jerusalem honours 25,000 individuals who helped to save Jewish lives during the second world war. Among this roll call of the “Righteous among the Nations”, there is only one named Arab: Dr Mohamed Helmy. This remarkable book tells the story of Helmy’s life, in particular the years in which he helped a young Jewish girl, Anna Boros (later Gutman), evade the Nazis in the heart of Berlin from 1936 until the end of the war.

Ronen Steinke, a political commentator at German broadsheet Süddeutsche Zeitung, has painstakingly pieced together these events from the state archive in Berlin, and from Gestapo correspondence, and interviews with the surviving relatives of Helmy and Gutman in New York and Cairo. His story, deftly translated by Sharon Howe, wears this research lightly. Steinke’s history sheds a light on what he argues is a deliberately forgotten world, the old Arabic Berlin of the Weimar period, centred around the grand mosque in the Wilmersdorf district, which was “open, progressive and far from antisemitic” and which welcomed Jewish luminaries, including Albert Einstein and philosopher Martin Buber, to its cultural events. “It is a perception shared by many Muslims in western countries that the Holocaust was nothing to do with them, that Muslim migrants played no part in that history,” Steinke writes. “This book is evidence to the contrary.”

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Sunday with Neil Gaiman: ‘I’m left to make things up, uninterrupted’

The writer on hiking, overeating – and bedtime stories

How are your Sunday mornings? Right now I’m in Edinburgh – my Sundays start in a hotel room, alone. Midweek, I’m up at 5.30am to make it on set. The first thing I do is text my wife Amanda in New Zealand with a message for my son. If I’m lucky with the time difference I can read him a bedtime story.

Do you work? I love to write. On Sundays it’s a joy. It’s a gift that nobody else is working. It’s the day I have to really write – the best bit of the job – when most of my time is spent doing admin and emails. We’ve got three TV shows on the go, there’s a lot to do, but right now on Sundays I’m left to make things up, uninterrupted.

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Bambi: cute, lovable, vulnerable … or a dark parable of antisemitic terror?

A new translation of Felix Salten’s 1923 novel reasserts its original message that warns of Jewish persecution

It’s a saccharine sweet story about a young deer who finds love and friendship in a forest. But the original tale of Bambi, adapted by Disney in 1942, has much darker beginnings as an existential novel about persecution and antisemitism in 1920s Austria.

Now, a new translation seeks to reassert the rightful place of Felix Salten’s 1923 masterpiece in adult literature and shine a light on how Salten was trying to warn the world that Jews would be terrorised, dehumanised and murdered in the years to come. Far from being a children’s story, Bambi was actually a parable about the inhumane treatment and dangerous precariousness of Jews and other minorities in what was then an increasingly fascist world, the new translation will show.

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Remembering Joan Didion: ‘Her ability to operate outside of herself was unparalleled’

The American author was not only brilliant but also generous and kind to younger writers, writes Emma Brockes

There is that famous photo of Joan Didion, taken in Malibu in 1976, in which she leans on a deck overlooking the beach, cigarette in hand, scotch glass at her elbow, and regards her family – John Dunne, her husband, and their then 10-year-old daughter, Quintana – through lowered, side-long eyes. Like other iconic photos of Didion from the period, she is at one remove from the group, off to the side and in this case, looking not at the camera but at her family as they look at the camera. It’s the pose Didion perfected, in life as in art, and when news of her death at the age of 87 broke on Thursday, it was a shock to see another frame from that sequence surface online. In it, Didion, eyes fixed forward, smiles broadly at the camera in the conventional style – a rare glimpse behind the persona.

The paradox of Didion was not unusual among writers, whose confidence is often born of a million anxieties. But her ability to operate outside herself – to measure the gap between inside and out and slyly mock any effort to conceal it – was unparalleled. She was, famously and by her own account, diffident, brittle, runtish, prone to migraines, afraid of the telephone, and as she wrote in the preface to her 1968 collection Slouching Towards Bethlehem, “bad at interviewing people”, apparent deficits that, in Didion’s hands, were of course precisely what permitted her entry to places her rivals – particularly the blow-hard men of 1960s journalism – couldn’t reach.

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