In the Critics this week

William Trevor on V S Pritchett, Robert Douglas-Fairhurst on Dickens, and David Harsent on insomnia.

The Books Essay in this week's New Statesman is by the novelist William Trevor, who pays tribute to V S Pritchett's mastery of the short story form. Pritchett, Trevor writes, "indelibly left his mark on it". He praises Pritchett's "exploration of the human condition", noting that "the unusual as a human quality appealed to him, as mild eccentricity did".

In Books, Robert Douglas-Fairhurst, author of Becoming Dickens, reviews The Selected Letters of Charles Dickens , edited by Jenny Hartley. He is as taken with Hartley's editorial efforts as he is with Dickens, comparing her achievement to writing "the Lord's Prayer on a grain of rice". Douglas-Fairhurst notes Hartley's judicious selection from Dickens's correspondence of "a good cross section of Dickens's different epistolary moods and modes". Alluding to Dickens's comparatively early death, Douglas-Fairhurst says "Reading how much he crammed into his life, the only surprise is he lasted that long".

In the Books Interview, Jonathan Derbyshire talks to Jodi Kantor about her new book The Obamas: a Mission, a Marriage. Speaking as much about the First Lady as about the President, Kantor says of Mrs Obama: "She's the worrier in the family. She's often quicker to anticipate problems than he is".

Also in Books: Yo Zushi reviews the late Gil Scott-Heron's The Last Holiday: a Memoir. Zushi is beguiled by Scott-Heron's "delight in telling his story" and his "dazzling command of language". Other reviews: Kate Saunders on The Revelations by Alex Preston; and Leo Robson on The Detour by Gerbrand Bakker.

Elsewhere in Critics: Ryan Gilbey on Carnage; Rachel Cooke on The Fixer (BBC2); poet David Harsent on the reality of insomnia; Antonia Quirke on The Secret Catacombs of Paris (Radio 4); and Alice Gribbin on "Golden Spider Silk" at the Victoria & Albert Museum. PLUS: Will Self's Real Meals.

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The Negroni fools no one – it’s easy to make and contains nothing but booze

It is the colour of danger, a red rag to anyone jaded by cocktail-world bull.

The cocktail is designed to lie about its origins; no wonder it reached its apogee during Prohibition, which forced everyone with an unrepentant thirst to lie about their cravings. Even today, when only extreme youth, religious belief or personal inclination prevents a person from draining the bar dry, the cocktail continues its career of dishonesty. It hides ingredients or methods. It provides a front for poor-quality booze. And it often dissolves, within its inscrutable depths, mountains of sugar, enabling drinkers to pose as sophisticates while downing something that tastes like a soft drink – to get drunk without leaving the playpen.

This is why I love the Negroni, which fools no one. It is easy to make and contains nothing but pure booze. Despite being a third sweet vermouth, it isn’t saccharine: the other two thirds, equal measures of gin and Campari, may have something to do with this. And it is the colour of danger, a red rag to anyone jaded by cocktail-world bull.

They say it was invented in Florence at the request of a Count Negroni, who wanted a drink unsullied by club soda – a drink stiff enough to get a man back on a bucking horse, perhaps, since this Count may have been a rodeo rider. I prefer to believe that the Count, if Count he was, came in, tossed down enough strong liquor to start telling stories about his American adventures, and, when he finally staggered out into the night, the exasperated bartender poured three straight shots into a single glass and baptised this wondrous reviver in grateful homage to the fabulist who had inspired it.

In a former glue factory a very long way from Florence or America, the East London Liquor Company now makes very good gin – Batches One and Two, the former tannic with Darjeeling as well as cassia bark, pink grapefruit peel, and coriander seeds; the latter redolent of savoury, bay, thyme and lavender. Transforming these plants into excellent alcohol seems an improvement on boiling down horses for adhesive, and the company also makes superb Negronis from Batch Two.

We sit outside, in a carpark made marginally more glamorous by border boxes of Batch Two botanicals, and marvel at the transformation of this grimy part of East London, next door to a park intended to give Victorian working men brief respite from lives all too lacking in myth or fantasy. It is a reincarnation at least as miraculous as the transformation of three strong and entirely unalike spirits into the delectable harmony of the Negroni. The sun shines; a fountain plashes. Nuts and charcuterie arrive. All is right with the world.

I leave my herbaceous bower and dangerously pleasing drink for a peek at the large copper distillery behind the bar, walking in past the fountain, a whimsical stone construction that pours vermilion liquid into two, tiered basins topped by a chubby putto clutching a rather reluctant fish.

And then I stop. And double back. Vermilion liquid? It is, indeed, a Negroni fountain. There are even slices of orange floating in the basin. I dip a finger: the taste is slightly metallic but still undeniably that potent mixture of booze, botanicals, bitterness, and just a hint of sweetness. A streak of citrus from the orange slices. It turns out that the world’s most straightforward cocktail lends itself to a decadent neo-Renaissance fantasy. There’s a message here, one forthright as a temperance tract: without imagination, we would have no lies – but no Negronis, either.

Nina Caplan is the 2014 Fortnum & Mason Drink Writer of the Year and 2014 Louis Roederer International Wine Columnist of the Year for her columns on drink in the New Statesman. She tweets as @NinaCaplan.

This article first appeared in the 20 July 2017 issue of the New Statesman, The new world disorder