Reviews round-up

The critics’ verdicts on Colm Tóibín, John Lanchester and Stefan Collini

New Ways to Kill Your Mother: Writers and their Families by Colm Tóibín

In the Financial Times, NS editor Jason Cowley advises caution, lest a brutally honest memoirist be one of our own: "Beware the family that has a writer in its midst, the one who watches, records, remembers and confesses ... those closest to them invariably suffer most". Cowley observes how Tóibín's anthology is semi-autobiographical rather than purely a commentary on the lives of others: "In New Ways to Kill Your Mother, a series of review-essays, he works away at and through his obsessions: family, homosexuality, homeland, the anxiety of influence." Cowley acknowledges Tóibín's "understandable interest" in other Irish writers, but wonders if his essay on Beckett carries either sufficient insight or the scholarly appreciation exhibited by others: "But one has little sense from it of the complexity of Beckett's relationship with his mother; you have only a mild sense of the misunderstanding that existed between them. It was written before the publication of the second volume of The Letters in 2011 (no attempt was made to update the essay or to write a postscript to it, as Martin Amis did to the literary essays collected in The Moronic Inferno: And Other Visits to America)." Cowley notes certain of the book's continuities, but feels the project could have been more tightly executed: "As it is, these review-essays share a family resemblance as themes overlap and interconnect, but the whole turns out to be rather less than the sum of its parts."

John Preston, in the Telegraph, detects a Freudian inevitability in child-maternal acrimony, citing how many writers commit literary matricide: "It comes as no surprise to learn that writers should often have had troubled relationships with their mothers, but as Colm Tóibín points out, the real interest lies in seeing how they exact their revenge. They do so in a lot of cases by murdering them - not in cold blood, but metaphorically, on the page." Citing Tóibín's perceptive solitary essay on a female author, Preston notes Jane Austen's exclusion of a mother figure in the name of a protagonist's burgeoning independence: "There is a long and surprisingly distinguished history of matricide in fiction - especially in the 19th-century novel. Jane Austen's last three novels all have motherless heroines and they do so, Tóibín believes, for a very good reason. "Mothers get in the way in fiction; they take up the space that can be better filled by ... the slow growth of a personality." Without mothers, Austen's heroines are free to grow outside of the family's arena of influence - and to become themselves." For Preston, Tóibín is as able a historian as he is a storyteller: "Delicacy is one of Tóibín's great strengths as a novelist, and it's here in abundance, too."

* Colm Tóibín's New Ways to Kill Your Mother will be reviewed in the next issue of New Statesman.

Capital by John Lanchester

In the Guardian, Theo Tait sees in London-based epic Capital the aspirations of multiculturalism and the cruder reality of financial meltdown: "Roger Yount, an investment banker; Zbiegniew, a Polish builder; Matya, a Hungarian nanny; Freddy Kano, a young Senegalese professional footballer; the Kamals, a British Pakistani family who run the corner shop; Quentina, a Zimbabwean traffic warden; and Petunia, an elderly working-class woman - the last of the aborigines. The story begins just before Roger's bonus is revealed to him in December 2007; it ends in November 2008, with the world economy grinding to a halt." Whilst pointing out that sharp cultural insight is sometimes lacking in a text as sweeping and broad as Capital, Tait acknowldges Lanchester's spirited efforts to achieve a sharper focus: "a decent stab at describing what it must be like to run a corner shop, or to be detained under terrorism laws, or to leave a shack in Senegal to play alongside world-famous footballers". Tait, with cautious praise, notes that Lanchester's slightly flat conclusion is no anti-climax: "All in all, Capital is a diverting read. It holds your attention all the way to its strangely inconsequential ending, and will probably sell well".

For Keith Miller, in the Telegraph, Lanchester heeds William James's advice that we must intuit what to leave out: "Capital attempts an allegorical portrait of the Smoke during those turbulent times. Squeezing a bafflingly diverse city of more than seven million inhabitants into even quite a thick book without letting a good portion of the diversity slide is a tall order: to pluck a few examples out of the air, there are no Brazilians, intellectuals, charity muggers, public-sector employees, gangsters, media workers or entertainers in these pages. But the book is a more or less unimpeachably plausible portrait of one (fictional) street in Clapham, a popular south London 'village' where a spacious but fairly hideous Victorian house can command a price approaching a hundred times the UK's median annual income." To the purported truth that deft characterisations are key to a sound narrative, Lanchester, says Miller, was long ago converted: "Gently and slowly, Lanchester tightens the screws, alternating hope and despair, flitting between protagonists neatly and dexterously. New characters are introduced: a successful, terrible street artist (all street artists are terrible, though not all, significantly, are successful) called Smitty, the newsagent's brothers Usman and the hapless jihadi-turned-web designer Shahid." Though the scope of Lanchester's ambition here is daunting, Miller identifies an attractively costive, nuanced style: "There is a reticence, an austerity - to use a modish term - about the book that I very much liked."

* John Lanchester's Capital will be reviewed in the next issue of New Statesman.

What Are Universities For? by Stefan Collini

In the New Statesman, Alan Ryan sees two disciplines fusing in Stefan Collini's timely primer on the current state of higher education: "It is really two books, the second half more polemical and the first half an essay in cultural criticism", merging Collini's contribution to an ongoing dialogue with a series of pieces he has published in different journals. Not, says Ryan, that the two styles don't fit together: "The two halves of the book hang together because Collini has a very definite vision of what universities can contribute to the welfare of societies that shelter them and pay for them, and an equally definite vision of the ways in which the higher education policies of successive UK governments since 1980 have made it hard for them to do it." Whilst echoing Collini's advocacy of learning for its own sake, Ryan worries the liberal ideal will be entirely subservient to corporate dogma: "Not that I imagine that the new breed of CEO vice-chancellor, let alone a government that parks universities under the umbrella of "business, innovation and science", will understand the point of even take any notice of it."

Sir Howard Newby, in the Independent, wonders whether this volume's inclusion of Collini's articles from the London Review of Books and elsewhere, supposedly to make them more widely accessible, is entirely valid: "Their inclusion is justified on the grounds that they are thereby made more available. In reality, they serve to demonstrate how much Collini's thinking has matured and moved on." Yet, these fragments are not without their value, observes Newby: "It does, though, focus on some easy targets - the depressing utilitarianism of the debate over the past 30 years; the decline of trust in professional judgments and the rise of egregious audit; the conflation of quality and standards." Ultimately, then, Newby, like Collini, condemns the bureaucracy to which higher education is increasingly vulnerable, and says that, if nothing else, the book does what it says on the tin: "Collini's book, I hope, will kick-start a serious debate. As a precursor, he has successfully reminded us what, indeed, universities are for."

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Young and Promising is the next best new TV comedy about “struggling millennials”

It’s Norwegian, subtitled, gently funny and very honest.

You know things are bleak when every mainstream comedy derives its humour from just how fucked up it is to be young today. Girls, Broad City, Search Party, Insecure, Fleabag, Love, This Country, You’re The Worst... the list of on-screen women in their 20s “just doing their best to figure it all out” is endless.

Over on Channel 4 tonight, a new overgrown child of the genre debuts, albeit one with a slight difference. Young and Promising (or Unge Lovende) makes its way to mainstream UK TV from Norway’s NRK (the channel that brought us Skam, the best teen drama of the decade) as part of All 4’s Walter Presents programme, which offers a chance to experience shows from around the globe. It’s Norwegian, subtitled, gently funny and very honest.

Young and Promising is written by its lead actress, Siri Seljeseth, who plays Elise, an aspiring comedian based in LA who returns home to Oslo to renew her tourist visa. The show also follows her two best friends (played by Seljeseth’s real friends from the Nordic Institute of Stage and Studio): Nenne (Gine Cornelia Pedersen), a waitress and unpublished fiction writer, and Alex (Alexandra Gjerpen), who is at the crucial stages of auditions for the Norwegian National Academy of Theatre for the fourth year in a row. 

It’s Elise whom we see the most of in tonight’s opening double-bill, which follows her from LA to the US Embassy in Oslo as she tries to get back to California. In Norway, it watches her struggle to handle a relationship she had left hanging, with her ruggedly handsome best friend Anders, whom she slept with the night before she first left for LA. It’s her home life, however, that’s most intriguing: her domineering father has cheated on her nervous, psychoanalytic mother and is having a baby with another woman. Who? “I don’t think that is relevant in this situation,” he insists. “This won’t affect you in a greater extent.” 

Meanwhile, Nenne is rejecting male publishers who fetishise her work as a new cool feminist voice. She uses her waitressing job to her advantage, assisting a senior publisher suffering from alcohol-induced vomiting and diarrhea in order to call in a favour later. But it’s Alex who has the stand out plotline, with some of the most complex and moving scenes of the show. She is simultaneously the most ambitious and most disillusioned character, played at breaking point by Gjerpen. When, in a key audition, her male scene partner suddenly forces his hand between her thighs, she snaps, and spends the rest of the episode lurching between hot tears of guilt over losing the scene, and painful conversations with peers about “being in character”.

Young and Promising has drawn countless comparisons to Girls, as any new show about mid-20s creative women does, but it’s friendlier, less cinematic and more down to earth than much of that series. The laughs don’t hit as hard, but its lead characters are fundamentally much more likeable. If you’re a struggling millennial comedy addict, or searching for something to fill the Norwegian hole Skam left in your life, Young and Promising is for you.

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