Reviews round-up

The critics' verdicts on Carole King, Tom Holland and Tim Lott.

A Natural Woman by Carole King

Writing in the Independent Fiona Sturgiss praises Carole King whose “elegant and “evocative” memoirs not only recount her Brooklyn childhood but also describe the social and political changes that took place during the fifties and sixties. As Sturgiss points out, King’s autobiography may be “one of the more reliable accounts of the era”. Unlike many of her contemporaries, King drank only in moderation and completely abstained from drugs: “Any decadence detailed in her memoir is other people's, and even then she is unfailingly discreet”. Indeed, King’s modest autobiography is a far cry from the rock ‘n’ roll memoirs of Keith Richards or Sammy Hagar. Sturgiss describes her life story as “one of resourcefulness, ambition and unfathomable strength. For the most part, King conveys the impression of an artist operating in isolation, impervious to the music world's extra-curricular activities and forever out of step with the cool kids”, concluding, “her independence and fierce protection of her values gives her the space to blaze a trail all of her own”.

In the Guardian Carole Sullivan likewise enthuses over King’s modesty. However, she is more critical of her “prim” style. She describes the book as “cosy and comforting”. From her review, you can’t help but read Sullivan’s disappointment at the lack of insight into King’s show-biz experiences: “It must have been life-changing, yet she skims over what it felt like suddenly to be America's biggest-selling singer”. Indeed, she continues, “towards the end of the story [] is clogged by a dull account of her legal fight to stop the public accessing a road running through her ranch; this is where her earnestness becomes tedious rather than charming”. However, she ends warmly, “her generosity, towards [her late husband] and almost everyone else, lights up A Natural Woman. This is a pop icon you'd (probably) like to have as a friend".

In The Shadow Of The Sword: The Battle for Global Empire and the End of the Ancient World by Tom Holland

Tom Holland is widely congratulated for his brave grand tour of history and religion. His new novel covers a substantial stretch of the later Roman Empire, the last years of the Persian empire, the conversion of the Arabs, the spread of Christianity and what happened to Judaism, but, centrally, the establishment of Islam and its political and martial setting and the possibility that the Qu’ran that has evolved and developed over time. Here lies Holland’s bravery, as Philip Hensher notes in the Spectator, “suggesting anything remotely similar about the Qu’ran is to condemn you to an existence where the gendarmerie have to accompany your children to school every day”. Certainly, his subject matter is, as Heshner describes, “colossal”. He goes on to describe Holland as, “a writer of clarity and expertise… a confident historian who is able to explain where this great religion came from without illusion or dissimulation has us greatly in his debt”.

Anthony Sattin, writing in the Guardian, agrees, enthusing, “The life of Muhammad and the rise of Islam are boldly re-examined in this brilliantly provocative history”. Again, Satin is awed by Holland’s courageous choice of subject matter, “Christians have choked on the notion that many of their rituals were borrowed from pagan rites. And heaven help the historian who dares to suggest that Islam might be a product of earlier religions and not, as the faithful insist, a revelation direct from God. Tom Holland has done exactly this in his brilliantly provocative new book – and we must hope that heaven is smiling on him now”.

In the Shadow of the Sword will be reviewed in a forthcoming issue of the New Statesman.

Under the Same Stars by Tim Lott

In the Guardian Alex Clark is ambivalent about Tim Lott’s tale of two brother’s search for their estranged father: “It's a relatively complicated set-up, and Lott has his work cut out juggling the frequently comic tone of the brothers' road-trip – from Christian bumper stickers to hokey tourist attractions to mammoth portions of food – and the more sombre working-out of a buried family trauma”. Clark is critical of Lott’s somewhat fraught style, his use of aphorism and clunky phrases. “Lott,” he notes, “is not great, for instance, at getting people in and out of rooms, "They made their way happily into the hotel lobby" and his writing can strain a bit for no apparent reason, a “lacuna” in the traffic might more naturally be a “gap’”. Clark is less critical when it comes to the grander themes of the novel. He praises Lott’s exploration of cultural and geographical contrasts between Britain and America, which often acts to represent his character’s mental landscapes. He goes on, “his real talent lies [] in a willingness to allow emotional rawness and confusion to remain unfinessed, the loose ends to stay frayed”.

The Telegraph’s John Preston is more complimentary. He ponders whether the novel’s long gestation can be attributed to “the fact that it’s so close to the bone. The book is based on a road trip across America that Lott took with his brother, Jeff. Lott was estranged from his brother at the time, just as his main character, Salinger Nash, is estranged from his”. Preston describes the novel as “a clever take on brotherly relations”. Though he recognises that Lott’s subject is “well-worn as it is potentially corny”, he praises Lott as, “far too sharp a writer to topple into sentimentality”.

Similarly, Sean O’Hagan’s interview with Lott for the the Observer reveals the strong autobiographical element of the novel: “At the heart of the book, is a very English protagonist, whose constant tendency to scratch away at the deeper meaning of things is, I suspect, an urge Lott knows all too well. At the end of the interview, Lott concedes, "I guess I do hang on to a lot of stuff”.

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Harry Styles: What can three blank Instagram posts tell us about music promotion?

Do the One Direction star’s latest posts tell us about the future of music promotion in the social media age - or take us back to a bygone era?

Yesterday, Harry Styles posted three identical, captionless blank images to Instagram. He offered no explanation on any other social network, and left no clue via location serves or tagged accounts as to what the pictures might mean. There was nothing about any of the individual images that suggested they might have significance beyond their surface existence.

And, predictably, they brought in over a million likes – and thousands of Styles fans decoding them with the forensic dedication of the cast of Silent Witness.

Of course, the Instagrams are deliberately provocative in their vagueness. They reminded me of Robert Rauschenberg’s three-panelled White Painting (1951), or Robert Ryman’s Untitled, three square blank canvases that hang in the Pompidou Centre. The composer John Cage claimed that the significance of Rauschenberg’s White Paintings lay in their status as receptive surfaces that respond to the world around them. The significance of Styles’s Instagrams arguably, too, only gain cultural relevance as his audience engages with them.

So what did fans make of the cryptic posts? Some posited a modelling career announcement would follow, others theorised that it was a nod to a Taylor Swift song “Blank Space”, and that the former couple would soon confirm they were back together. Still more thought this suggested an oncoming solo album launch.

You can understand why a solo album launch would be on the tip of most fans’ tongues. Instagram has become a popular platform for the cryptic musical announcement — In April, Beyoncé teased Lemonade’s world premiere with a short Instagram video – keeping her face, and the significance behind the title Lemonade, hidden.

Creating a void is often seen as the ultimate way to tease fans and whet appetites. In June last year, The 1975 temporarily deleted their Instagram, a key platform in building the band’s grungy, black and white brand, in the lead up to the announcement of their second album, which involved a shift in aesthetic to pastel pinks and bright neons.

The Weekend wiped his, too, just last week – ahead of the release of his new single “Starboy”. Blank Instagrams are popular across the network. Jaden Smith has posted hundreds of them, seemingly with no wider philosophical point behind them, though he did tweet in April last year, “Instagram Is A BlackHole Of Time And Energy.”

The motive behind Harry’s blank posts perhaps seems somewhat anticlimactic – an interview with magazine Another Man, and three covers, with three different hairstyles, to go along with it. But presumably the interview coincides with the promotion of something new – hopefully, something other than his new film Dunkirk and the latest update on his beloved tresses. In fact, those blank Instagrams could lead to a surprisingly traditional form of celebrity announcement – one that surfaces to the world via the print press.

Anna Leszkiewicz is a pop culture writer at the New Statesman.