My rock’n’roll friendship with Lindy Morrison

She was in the Go-Betweens, Tracey Thorn was in the Marine Girls, their 30-year friendship enhanced both their lives

On 31 March 1983, she burst into my dressing room, asking at the top of her voice, “Has anyone here got a lipstick I can borrow?” I looked up to see a tall woman in a Lurex dress, with a mass of blonde hair. Our two bands, Marine Girls and the Go-Betweens, were on the same bill at the Lyceum in London. I was 20, and she was 31. I was a tentative singer, she was a loud, outspoken drummer. I was from suburbia, she was from Brisbane, Australia. And I was still a student, while she had already been a social worker, then joined a feminist punk band called Xero. She’d hitchhiked across Europe with a girlfriend, she’d seen every art film, read every avant-garde book. She’d slept at Shakespeare and Co in Paris, she’d swum with Roger Moore, she could recite Kate Millett’s Sexual Politics. But I didn’t know any of this. I just knew that she looked like self-belief in a minidress, and that she had arrived in my life. “Who was that?” I asked when she had gone. “That,” came the reply, “was Lindy Morrison.”

It took a couple of years for us to become friends. We were opposites in many ways, and at different stages of life, but there were similarities: we both lived with the boyfriend we were in a band with; we had strong opinions about everything – feminism, love and art; we liked Marilyn Monroe, Bette Davis, Patti Smith, Simone de Beauvoir, and we had no time for a lot of the men who surrounded us in the music business. I’d watch her on stage, fierce and sweating behind the drum kit, long hair flying in her face, all energy, all concentration, and I was proud to be her friend.

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Beautiful Things review: Hunter Biden as prodigal son and the Trumpists’ target

The president’s son recounts his struggles and his father’s love with honesty – yet still seems blind to glaring political realities

Robert Hunter Biden is not a rock star. Instead, the sole surviving son of Joe Biden – senator, vice-president, president – is a lawyer by training and a princeling by happenstance. Regardless, life on the edge comes with consequences.

Related: Lucky review: how Biden beat Trump – and doubters like Obama and Hillary

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Salman Rushdie on Midnight’s Children at 40: ‘India is no longer the country of this novel’

Four decades after his Booker-winner was published, Rushdie reflects on the Bombay of his childhood – and his despair at the sectarianism he sees in India today

Longevity is the real prize for which writers strive, and it isn’t awarded by any jury. For a book to stand the test of time, to pass successfully down the generations, is uncommon enough to be worth a small celebration. For a writer in his mid-70s, the continued health of a book published in his mid-30s is, quite simply, a delight. This is why we do what we do: to make works of art that, if we are very lucky, will endure.

As a reader, I have always been attracted to capacious, largehearted fictions, books that try to gather up large armfuls of the world. When I started to think about the work that would grow into Midnight’s Children, I looked again at the great Russian novels of the 19th century, Crime and Punishment, Anna Karenina, Dead Souls, books of the type that Henry James had called “loose, baggy monsters”, large-scale realist novels – though, in the case of Dead Souls, on the very edge of surrealism. And at the great English novels of the 18th and 19th centuries, Tristram Shandy (wildly innovative and by no means realist), Vanity Fair (bristling with sharp knives of satire), Little Dorrit (in which the Circumlocution Office, a government department whose purpose is to do nothing, comes close to magic realism), and Bleak House (in which the interminable court case Jarndyce v Jarndyce comes even closer). And at their great French precursor, Gargantua and Pantagruel, which is completely fabulist.

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From colonialism to Covid: Viet Thanh Nguyen on the rise of anti-Asian violence

Anti-Asian racism is on the rise around the world. The Pulitzer-winning author reflects on his own experiences as a Vietnamese American – and the dark history that continues to fuel the current hate

On 16 March eight people were killed in Atlanta, Georgia, by a 21-year-old white man: all but one were women, and six were Asian. The shootings take their place in a much longer story of anti-Asian violence. The Covid pandemic has given us a particular insight into this phenomenon: verbal and physical assaults against Asians have accelerated in the US over the last year, with 3,800 documented incidents involving spitting, knifings, beatings, acid attacks – and murder. The majority of the victims have been women.

Though the Atlanta killings took place in Asian massage parlours, the shooter has said he did not target the women because of their race. Instead, he claimed to be a sex addict bent on “removing temptation”. Regardless of his denial – whether it is a lie or self-deception – it is obvious that he targeted these women because they were Asian. “Racism and sexism intersect,” says Nancy Wang Yuen, a sociology professor. This intersection has been a driving force in western attitudes towards Asia and Asian women, who are routinely hypersexualised and objectified in popular culture.

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The return of the bonkbuster: how horny heroines are starting a new sexual revolution

I longed for novels about female desire - women empowered by sex and their expressions of lust. So I sat down and wrote my own

The idea for my novel Insatiable emerged from a simple question: where were all the horny women? I knew that we were secretly legion. In fact, I suspected that I was surrounded by women, sitting on buses, standing in queues, staring out of the window and simultaneously entertaining all kinds of filthy daydreams. After all, millions of us had bought and read Fifty Shades of Grey. Even if half the sold copies were bought by people who wanted to mock it, that left millions of genuinely horny women unaccounted for – and buying the sequels.

I was not transported in the way I had hoped; I did not find Christian sexy, I did not relish the BDSM and, most of all, I struggled to connect with the beautiful, blank lead character, Anastasia. She seemed similar to every other sort-of-horny woman I had seen on screen, a sexual object before she was a sexual subject, a person who had to be perfect and prove herself desirable before she was allowed to pursue desires of her own.

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George RR Martin signs five-year, eight-figure deal for more HBO projects

Game of Thrones author also has a Netflix film on the way, but there is still no word of his finishing the fantasy series that made his name

After the huge success of HBO’s adaptations of his Game of Thrones books, George RR Martin has signed a deal to develop several television series for the network and its streaming arm, HBO Max.

Related: George RR Martin: ‘Game of Thrones finishing is freeing, I’m at my own pace’

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‘We will have to choose our apocalypse’: the cost of freedom after the pandemic

To remake society after the pandemic, we must swap Insta self‑improvement for something more radical, argues author Sam Byers

Across much of the west, March is a milestone both surreal and distressing: a full year of life in Covid-19’s shadow. Twelve months ago, we couldn’t imagine what we were about to experience; now we can’t process what we’ve endured.

This was a year of seemingly irresolvable contradictions. Our grief was collective, yet rituals of communal mourning were denied us. We hymned the “global effort” to produce a vaccine, then recoiled into vaccine nationalism the moment that effort bore fruit. Even as Zoom held us together, Covid denial and conspiracy theories in the family WhatsApp tore us apart.

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Thanks to the pandemic, I’ve spent a year in one place with my mind in two | Chibundu Onuzo

My family is in Lagos. I’m in London – and there’s no chance of a flight home. Zoom does many things, but it can’t give hugs

It’s been two years since I last saw my father. He lives in Nigeria, just a six-hour flight away, but the last time either of us set foot in an airport was 2019. I don’t miss the cramped seating and recycled oxygen of planes. Nor do I miss the anxious buzz of airports – of standing in my socks on a cold floor, queuing to walk through a metal detector. But I do miss my father and he is at the other end of a plane journey in a world where, for now, the skies are almost empty.

Mostly, I see my father on a screen. His beard is slightly more grizzled but he’s obviously drinking enough water. His skin looks great on camera. I hope the rest of his body is well. Three years ago he was ill and admitted into hospital. We don’t talk about his health but we do talk about Nigeria, about politics and the EndSars protest for example, and whether Nigerians are taking the pandemic seriously enough.

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And the brand played on: Bob Dylan at 80

With a slew of books to mark the songwriter’s birthday due, we look at the industry that has grown up around the man who forced academia to take pop seriously

  • Scroll down for Q&As with the authors of four new Dylan books

“It’s gonna take a hundred years before they understand me!” Bob Dylan once claimed, “they” being the cohorts of fans, critics and Dylanologists who have dogged his tracks ever since Robert Zimmerman, chippy teen of Hibbing, Minnesota, became Bob Dylan, world-famous singer, songwriter, and pop’s most enduring enigma.

“That’s exactly the quote James Joyce made about Ulysses,” points out Sean Latham, professor of English at the University of Tulsa and head of the institute for Bob Dylan Studies recently established there. “Joyce said, ‘I put so many puzzles and enigmas in Ulysses it will take the scholars 100 years to solve them’.”

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Maggie O’Farrell: ‘Severe illness refigures you – it’s like passing through a fire’

The Women’s prize winner reflects on the life‑threatening virus that shaped her writing, the superstitions that held her back, and why her prize-winning novel Hamnet speaks to our times

Maggie O’Farrell found the prospect of writing the central scenes of her prize-winning novel Hamnet, in which a mother sits helplessly by the bedside of her dying son, so traumatic that she couldn’t write them in the house. Instead, she had to escape to the shed, and “not a smart writing shed like Philip Pullman’s”, she says, “but a really disgusting, spidery, manky potting shed, which has since blown down in a gale”. And she could only do it in short bursts of 15 or 20 minutes before she would have to take a walk around the garden, and then go back in again.

The novel, a fictionalised account of the death of Shakespeare’s only son from the bubonic plague (his twin sister Judith survived) and an at times almost unbearably tender portrayal of grief, was first published a year ago. An interlude halfway through, which follows the journey of the plague in 1595 from a flea on a monkey in Alexandria to a cabin boy back to London and eventually to Stratford, was referred to by an American journalist as “the contact tracing chapter”. “It certainly wasn’t conceived as that when I wrote it,” the author says of the extraordinary coincidence of her novel, set more than 400 years ago, landing in the middle of the pandemic, not least because she delayed writing it for decades.

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Doubts cast over provenance of unearthed Sappho poems

Original account of discovery is retracted by editors of the scholarly book in which it was published

When two hitherto unknown poems by Sappho were brought to light in early 2014, it was a literary sensation. The sixth-century BC poet is one of the most celebrated writers of Greco-Roman antiquity, a tender chronicler of the agonies of female desire, and a gay icon. But frustratingly few works by her survive, and those that do largely come from ancient papyrus fragments preserved in the dry sands of Egypt.

But now the editors of a scholarly volume in which the circumstances of the discovery were detailed have formally retracted the chapter because the manuscript’s “provenance is tainted,” according to a statement issued through the book’s academic publisher, Brill.

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Thomas Bernhard was a ‘demon’, half-brother reveals in bestseller

Memoir by Peter Fabjan, an acclaimed hit in Bernhard’s native Austria, describes a tormented man who flitted between ‘affection and icy contempt’

In public, he could be gregarious. His charm was legendary. For the great Austrian novelist and playwright Thomas Bernhard, life was a kind of production. But as his half-brother Peter Fabjan remembers him in his new book, A Life Alongside Thomas Bernhard: A Report, published in German in January, there was another side to Bernhard. “My life was a life with a phantom – indeed a demon – at my side,” he writes.

A Top 10 bestseller in Austria, and labelled a must-read by Germany’s Die Welt, Fabjan’s book marks what would have been Bernhard’s 90th year, were it not for his premature death in 1989 at the age of 58. It has been widely acclaimed by critics; behind Fabjan’s sentences, Marc Reichwein wrote in Welt am Sonntag, one feels “the wounds of a sibling’s entire life”.

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Nawal El Saadawi, trailblazing Egyptian writer, dies aged 89

Award-winning feminist author of more than 55 books was a resolute challenger to Egyptian governments

Egypt’s trailblazing writer Nawal El Saadawi died on Sunday at the age of 89, after a lifetime spent fighting for women’s rights and equality.

The feminist author of more than 55 books first spotlighted the issue of female genital mutilation (FGM) with The Hidden Face of Eve in 1980. A trained doctor, El Saadawi also campaigned against women wearing the veil, polygamy and inequality in Islamic inheritance rights between men and women.

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On my radar: Monique Roffey’s cultural highlights

The Costa-winning author on enjoying Sade with a glass of wine, Line of Duty and why the Caribbean’s female writers need to be heard

Monique Roffey is an award-winning writer born in Trinidad in 1965 whose novels include The White Woman on a Green Bicycle and House of Ashes, which were shortlisted, respectively, for the Orange and the Costa prizes. She is also a senior lecturer at Manchester Writing School. Her sixth novel, The Mermaid of Black Conch, won the Costa book of the year and is shortlisted for the 2021 Rathbones Folio prize, announced on 24 March.

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Prince Harry writes foreword to book for children who have lost parents to Covid

Duke writes about his mother’s death in book for bereaved children as part of National Day of Reflection

The Duke of Sussex has reflected on the pain of his mother’s death in a foreword to a book for children of health workers who have died in the coronavirus pandemic.

Prince Harry wrote that the death of Diana, Princess of Wales in 1997 when he was 12 had left “a huge hole inside of me” but that it was eventually filled with “love and support”, according to the Times.

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‘Self-satisfied pork butcher’: Shakespeare grave effigy believed to be definitive likeness

Exclusive: Bust in Holy Trinity church was modelled by tomb-maker Nicholas Johnson, research finds

They say you should never meet your heroes, which has been just as well for literature fans who for centuries have been told they would never see an accurate likeness of William Shakespeare.

Until recently, there were only two definitive portraits of the playwright widely regarded to be the greatest writer in the English language and both were thought to have been painted posthumously. Art critics have even argued that the most famous – the Cobbe portrait – was more likely to have been a painting of courtier Sir Thomas Overbury, not the Bard at all.

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‘We choose good guys and bad guys’: beneath the myth of ‘model’ Rwanda

President Paul Kagame – long feted by leaders in the west – is accused of serial human rights abuses in expansive new book

A devastating new book will accuse Rwanda’s president Paul Kagame – long feted by his prominent international supporters as the model of visionary new African leadership – of being a serial human rights abuser, including for his role in a sustained campaign of assassinating his rivals in exile.

Written by Michela Wrong, the author who covered the Rwandan genocide in 1994, when more than 800,000 people – largely ethnic Tutsis as well as moderate Hutus – were killed by Hutu militias over 100 days, Do Not Disturb represents one of the most far-reaching historical revisions of Kagame and his regime.

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The Picture of Dorian Gray review – the ugly face of social media

Available online
Eternal youth and beauty exist only online in this thoroughly modern adaptation of Oscar Wilde’s fable, which counts Stephen Fry and Joanna Lumley among its impressive cast

If Dorian Gray were reborn in our age, it seems entirely fitting that he would be a social media star obsessing over his image. So it makes great intuitive sense for this adaptation of Oscar Wilde’s novel to situate its protagonist in the centre of the digital whirl of 2021.

There is now no physical painting: the deal made with Basil Hallward allows Dorian eternal youth and beauty online, but age marks him in the real world, his face becoming etched with the ugliness of his accumulating misdeeds (snorting coke, catfishing and late night hookups). The pandemic is incorporated into the drama and enhances the storyline as Dorian wears his mask to cover his ageing face.

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Our Lady of the Nile by Scholastique Mukasonga review – prelude to violence

Tensions at a school for privileged girls in Rwanda foreshadow the 1994 genocide in this surprisingly bright, light-touch debut

This debut novel by French-Rwandan author Scholastique Mukasonga, originally published in 2012 and the first of her books to be published in the UK, could have been called Privilege and Prejudice. Translated by Melanie Mauthner, it is a school story like no other, set in the late 1970s in a lycée nestled in the mountains of Rwanda, near the source of the Nile (“‘We’re so close to heaven,’ whispers Mother Superior, clasping her hands together”), where the pupils, daughters of the rich, are taught a little of God and a lot about how to maintain the status quo.

The school is notionally a part of the government’s efforts to promote female education in Rwanda, but within limits: the lycée is a white intrusion in Africa, built under the direction of “white overseers who did nothing but look at large sheets of paper they unrolled like bolts of cloth from the Pakistani shop, and who went crazy with rage when they called the black foremen over, as if they were breathing fire”. The girls are to be the drivers of change, while strictly following rules: they must speak French – Swahili is forbidden – and are taught that “History meant Europe, and Geography, Africa. Africa had no history… it was the Europeans who had discovered Africa and dragged it into history.”

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On my radar: Aidan Moffat’s cultural highlights

The Arab Strap vocalist on late-night horror chats with his mum, spending time with Alan Partridge, and bingeing on Succession

Born in Falkirk, Scotland, in 1973, Aidan Moffat is the vocalist of indie rock band Arab Strap, which he founded in 1995 with Malcolm Middleton. Characterised by Moffat’s half-spoken vocals over lo-fi instrumentation, the band gained international acclaim with 1996 single The First Big Weekend; they went on to release six studio albums before splitting in 2006 and reforming in 2016. Since 2002, Moffat has released music under the name L Pierre, and collaborated with artists including Mogwai and Bill Wells. Arab Strap’s first album in 16 years, As Days Get Dark, is was released this month on Rock Action.

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