In the Critics this week

Gessen on Amis pere, Gray on Ballard, Drabble on Rowling and Robson on the Booker.

In the Critics section of this week’s New Statesman, our lead book reviewer John Gray considers a new collection of interviews with the novelist J G Ballard. Ballard’s political views often inspired perplexity, Gray notes, though “why a writer presenting a view of life that subverts humanist pieties should be expected to defer to conventional political wisdom is not clear”. The conversations gathered in this book remind us, Gray concludes, that “Ballard’s stories are metaphors, not literal renditions of events – actual or realistically possible … [They are] creations of the imagination that expand our sense of possibility and affirm the renewal of life.”

In the Books interview, Rachel Haliburton talks to A N Wilson about his new novel The Potter’s Hand, based on the life of Josiah Wedgwood. Wilson’s father was a director of the Wedgwood pottery firm and he tells Haliburton that the novel “did come from a deep part of myself. So in that sense, it was very easy to write.”

Also in Books: novelist Margaret Drabble reviews J K Rowling’s first work of fiction for adults, The Casual Vacancy (“Though Rowling claims there is comedy here, there is not much to laugh about”); Helen Lewis on Bad Pharma by Ben Goldacre (“Ben Goldacre is angry, and by the time you put Bad Pharma down, you should be too”); Rebecca Abrams on The City of Abraham by Edward Platt (“the tragedy of Hebron lies not in its mythic history but in entrenched ideologies that make the possibility of coexistence increasingly remote”); Hans Kundnani reviews Günter Grass’s diary of the year 1990, From Germany to Germany (“Grass [was] hopelessly out of step with the mood in Germany”); Oliver Bullough on The Eagle Unbowed: Poland and the Poles in the Second World War by Halik Kochanski (“Poland’s war was so terrible as to almost defy summary”); Daniel Tyler reviews Judith Flanders’s The Victorian City (“Flanders captures the variety and colour of 19th-century London, stirring admiration and indignation by turns”). PLUS: the NS’s lead fiction reviewer Leo Robson assesses the shortlist for this year’s Man Book Prize. The chair of the judges, Sir Peter Stothard, has, Robson avers, “been making the right noises and an unabashed seriousness about literary debate has always been not incidental but central to what makes the prize worth having and even cherishing.”

Our Critic at large this week is the Russian-born American writer and co-editor of n+1 magazine Keith Gessen. Gessen writes about the friendship between Kingsley Amis and Philip Larkin, which was the laboratory for Amis’s debut novel Lucky Jim, published in 1954. “Amis began Lucky Jim as a book about Larkin,” Gessen notes. “Jim Dixon in the end is an Amis-Larkin hybrid who manages to be sweeter and more engaging than either of the men on their own. They were both Lucky Jim.”

Elsewhere in the Critics: Rachel Cooke praises Best Possible Taste, the BBC’s Kenny Everett biopic; Antonia Quirke is beguiled by the World Service’s Boston Calling; Alexandra Coghlan vists the Beethovenfest in Bonn; and Ryan Gilbey reviews Taken 2, in which Liam Neeson confirms his transformation into an action hero. PLUS: Will Self’s Real Meals.

Kingsley Amis in 1967 (Photograph: Getty Images)
Show Hide image

Forbidden forests: how Harry Potter and the Deathly Hallows saved the trees

How Bloomsbury used the Harry Potter series to make publishing eco-friendly.

“Of all the trees we could have hit, we had to hit one that hits back,” says Harry of the Whomping Willow, which successfully whomps both him and Ron when they arrive at Hogwarts by car. The incident is representative of a natural world that often appears remarkably robust in JK Rowling's original series. There is little sign of wizards being plagued by air pollution or acid rain. And while Dementors may lurk in the shadows, climate change does not.

Yet just as Rowling's wands pay tribute to the trees they're hewn from – with their hawthorn, holly and hornbeam woods as key to their construction as their pheonix feather or unicorn hair cores – so too would her books.

By the time The Deathly Hallows was published in 2007, all its UK texts, jackets and cases were printed on forest-friendly paper. The move by Rowling and Bloomsbury “sent a clear signal to the rest of the world”, says Greenpeace’s Jamie Woolley, and was “the catalyst” for other publishers to follow suit.

The Potter transformation was inspired by a Greenpeace campaign. In the same year that the fifth Harry Potter went to press, their “Paper Trail” report revealed that the UK book publishing industry was unwittingly sourcing paper from vulnerable ancient forests in Finland and Canada.

Change spiralled from there. In 2005, Bloomsbury printed the UK’s hardback version of The Half Blood Prince on 30% Forest Stewardship Council certified paper. By 2007, the US publisher Scholastic had pledged that the first 12 million copies of The Deathly Hallows would all be printed on paper that was at least partly recycled or sustainable.

Thanks to this shift, UK books labeled with the Forest Stewardship Council’s (FSC) logo are now becoming the rule rather than the exception. Over half of all British adults now recognize the mark, numerous UK publishers have upped their proportion of paper taken from FSC certified sources, and Penguin and Harper Collins have both pledged to reach 100 percent FSC sourced paper in the next three years.

But the challenge is also far from over. According to the FSC, many European and US publishers outsource their manufacturing to China, where imported timber from Indonesia is accompanied by one of the highest rates of deforestation in the world.

In the UK, just 13 percent of land is covered by trees and a recent report from the Environment, Food and Rural Affairs Select Committee criticised forest regulation as “not fit for purpose”.

So what can readers do to help? The FSC recommends looking out for its logo on any book you buy. And if that's not enough to satisfy, the Harry Potter Alliance has created a guide to fighting climate change for fans. 

Now read the other articles included in the New Statesman’s Harry Potter Week.

India Bourke is an environment writer and editorial assistant at the New Statesman.

0800 7318496