Reviews Round-up

The critics’ verdicts on Beryl Bainbridge and Judy Golding.

The Girl in the Polka Dot Dress by Beryl Bainbridge

The author's "final book, which was all but finished when she died of cancer in July last year," writes Paul Bailey in the Independent, "ranks among the finest of Bainbridge's fine works of fiction." Fittingly, he adds," The Girl in the Polka-dot Dress reads like a summation of Beryl Bainbridge's art," and as well as being "carefully constructed, as always," the novel gives the impression that "the author is returning to her roots, using the rich material of her early life in wartime Liverpool to devastating effect."

For Melvyn Bragg in the Guardian however it is the character of Rose that really makes the novel shine. "On the way to being one of Beryl Bainbridge's greatest creations," he notes, "she is given an internal life through sentences that are brilliantly elliptical and often very funny," and is central to this "superb and memorable work of fiction."

Mark Bostridge in the Financial Times is equally praiseworthy. Despite the fact that the author "struggled to write this, her final novel," he comments, "TheGirl in the Polka-dot Dress, Bainbridge's 18th work of fiction, emerges as a tour de force, well able to take its place alongside two other books that I judge to be her masterpieces."

The Children of Lovers: A Memoir of William Golding by his daughter

"Judy Golding is a sophisticated and self-conscious memoirist," writes Helen Taylor in the Independent, "flagging delicate evasions and yet having the courage to explore the cruelties, inconsistencies and conflicts within her father as they impacted on family life and her own psyche."

Claire Harman in the Scotsman also admires Judy Golding's ability to write about the complexities of the Golding family. "The result," Harman notes, "is a lyrical meditation on the history of her tight-lipped, clever family, her sad strivings to please and emulate her adored father and 'the many submerged rocks' in the choppy sea of their life together."

"Years in the writing," Kate Kellaway similarly comments in the Guardian, the book "is at pains not to rock the family boat unfairly," but despite this however, she adds, "the darker side of life tends to sidle up on this narrative."

Jane Shilling in the Telegraph, elucidating this bleaker aspect of the book, writes that novel's inside account of the Goldings, for all its interest, "is a moderate, rather restrained account of a relationship that was clearly at times exceptionally painful." She concludes "for both Judy and her brother, taking cover took at various times the extreme form of mental collapse; Judy recovered from a breakdown while she was a teenager, her brother's problems seem to have been more intractable."

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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

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