Reviews Round-Up

The critics' verdicts on Christopher Hitchens, Michael Chabon and Ian McEwan.

Mortality by Christopher Hitchens

Published eight months after his death, this collection of observations about what Hitchens called “living dyingly” are drawn from the Vanity Fair pieces that he wrote throughout his illness. John Lloyd, writing in the Financial Times, observes that “Hitchens’ wit doesn’t desert him till the last few fragmentary notes made in the last few sinking days; nor does his sense that he has, after all, been somebody, made it big in the most competitive arena of the most competitive country in the world.”

In the New York Times, Christopher Buckley calls the first seven chapters of the book “diamond-hard and brilliant” and offers a poignant description of the fragmentary jottings which make up the eight and final chapter: “they’re vivid, heart-wrenching and haunting — messages in a bottle tossed from the deck of a sinking ship as its captain, reeling in agony and fighting through the fog of morphine, struggles to keep his engines going.”

In the Guardian, Colm Tóibín calls the memoir “sad and oddly inspiring” and adds that Hitchens “writes with a calm and searching honesty about the idea that “I don’t have a body, I am a body.” He concludes with the claim that Hitchens “does everything to make sure that his voice remains civilised, searching and ready to vanquish all his enemies, most notably in this case the dullness of death and its silence.”

A review will appear in the next issue of the New Statesman.

Telegraph Avenue by Michael Chabon

The title of Chabon’s first novel in five years refers to the famous Telegraph Avenue that bridges Berkeley and Oakland, California. The jacket refers to it as a "Californian Middlemarch".

Michiko Kakutani writes in the New York Times that “[Chabon] draws an extraordinarily tactile, Kodachrome-crisp picture of the Bay Area world that his characters inhabit… while conjuring the music from the ’50s, ’60s and ’70s that [they] love so much and that has given them their vocation. The result is a novel with the grooviest soundtrack since High Fidelity.” She goes on to say that “although the novel gets off to a somewhat sluggish start, it soon achieves escape velocity, demonstrating that Mr. Chabon can write about just about anything… and write about it not as an author regurgitating copious amounts of research, but with a real, lived-in sense of empathy and passion.”

“In keeping with a novel full of jazz, the prose glimmers with accidentals, chromatic flats and sharps and syncopated rhythms,” says The Scotsman, “this stylistic virtuosity would nevertheless be meagre unless it was harnessed to specific ethical and empathetic ends. And Telegraph Avenue is a big book in an almost 19th-century manner; it has births and deaths, separations and reconciliations, the loss of virginity and the loss of friendship, moments of madness and sudden clarities. It is, above all, about consequence and forgiveness. The final pages are genuinely remarkable in their ability to create closure without compromising on emotional complexity.”

Sweet Tooth by Ian McEwan

Catherine Taylor, writing in the Telegraph, describes McEwan’s latest novel as “a genial, if flawed, foray into John le Carré territory – a wisecracking thriller hightailing between love and betrayal, with serious counter-espionage credentials thrown in.” Eileen Battersea in the Irish Times simply calls it a “glib beach read, marred by stagy dialogue,” and “a middlebrow spy spoof stuffed with self-regard.”

A review in the Economist declares that it is “not Mr McEwan’s finest book” and adds that, despite being “clever”, it is also “curiously forgettable. What it lacks is not so much an animating spirit, as a heart”.

Leo Robson, writing in the New Statesman, notes that the book “contains a certain amount of reflection on reading and writing, offered in the form of an ongoing argument between Serena and Tom which follows to an almost caricatural degree McEwan’s well-established version of the male-female dynamic . . . The couple disagree about modern fiction 'at every turn', and always for crass, gender-essentialist reasons.” Robson writes that “[Sweet Tooth] is a riddle, or perhaps a joke, in which a number of baffling, even boring, elements are clarified and justified by a final flourish. It rewards rereading, but not reading.”

Ian McEwan Photograph: Getty Images
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SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

Listen to our new episode now:

...or subscribe in iTunes. We’re also on Stitcher, RSS and SoundCloud – but if you use a podcast app that we’re not appearing in, let us know.

SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we'd love you to leave a review on iTunes - this helps other people come across it.

The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at], or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

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