Reviews round-up

The critics’ verdicts on Peter Carey, George Dyson, and Judith R Walkowitz.

The Chemistry of Tears by Peter Carey

Writing in the Telegraph, Lucy Daniels is impressed by Paul Carey's deft treatment of the Victorian era. His 12th novel takes its inspiration from Jacques de Vaucanson's fraudulent invention of the mechanical duck and follows a modern-day conservator of London's Swinburne museum who becomes obsessed with recreating the duck from the original drawings, an allegory, says Daniels, for the author's craft as a historical novelist: "Carey is drawn to the age of invention; his stories are filled with them and exquisite forgeries. Storytellers and inventors have a natural bond: one character here is a collector of vicious fairy tales who has invented a washing machine. The novel itself, after all, is something mechanically produced." She praises the expert way in which Carey blends historical truths with myths, but notes that the book is more "subdued" in tone than the novelist's previous high-energy works.

Richard Davenport-Hines is less enthusiastic about the novel in the Spectator, questioning Carey's consistency: "There are first-rate scenes and characters from both narrations, but not invariably". Whilst some scenes delight, others are "drearier", he says. He too notices the "subdued" nature of the book in comparison to Carey's back-catalogue, but for him (unlike Daniels), this detracts from the overall narrative: "There are neat descriptions of lush German landscape, but none of the elating richness of Carey's spectacular Australia-based novels. Readers who revelled in his mid-life exuberance will find him at the age of 69 sombre and apprehensive".

"The Chemistry of Tears" will be reviewed in a forthcoming edition of the New Statesman.

Turing's Cathedral by George Dyson

George Dyson's attempt to throw light on the invention of the first computer is well received by Evgeny Morozov in the Observer. In 1945, polymath named John von Neumann helped set up the Electronic Computer Project at Princeton's Institute for Advanced Study, already a hotbed of scientific talent. Indeed, Morozov recommends that "Dyson's book is worth reading for its treatment of the institute's early history alone". A comprehensive account of the conditions under which von Neumann was working is provided, says Morozov, as Dyson gives "ample social and cultural context". Yet despite this, Morozov criticises the book for being weighed down with painstaking theoretical detail: according to Morozov, "Dyson ... bombards the reader with a mind-boggling stream of distracting information that adds little to his tale" and sometimes "makes mystical claims that no serious historian would endorse".

Writing in the Telegraph, Manjit Kumar also suggests that Dyson's work is swamped by technicality: "Faced with the tricky task of balancing technical details with keeping the narrative accessible for the non-computer buff, Dyson ends up probably not giving enough detail to satisfy the aficionado but too much for the lay reader." Nevertheless, Kumar is generally satisfied with the book: "Turing, Von Neumann and their colleagues may have let the genie out of the bottle, but Dyson has done the difficult job of reminding us of how much we owe them and how far we have come in such a short time".

Nights Out: Life in Cosmopolitan London by Judith R Walkowitz

In the Independent, DJ Taylor tempers his praise of Walkowitz's attempt to present a diverse array of Soho stories that typify the area's history, highlighting the significant case studies that have been missed out: "There is very little about the sex trade ... not a great deal about organised crime, and nothing at all about the area's long-term function as a kind of sub-branch of the literary world's ground-down Bohemian end". Although he concedes that "Walkowitz's forte ... is the case study and the Soho recreation that reflects some wider trend", Taylor is put off by Walkowitz's tendency to stray into "academic cipher": "Where she stops being informative and becomes unintentionally hilarious, on the other hand, is in her use of jargon".

In this week's New Statesman, Sarah Churchwell also picks holes in the book, noting that Walkowitz spends little time examining the area's queer history: "she by no means ignores the gay experience, but surely such a definitive aspect of the district's history should not be elbowing for space". She is, however, less critical of Walkowitz's language, claiming that her "scholarly lily-gilding is, happily, infrequent".

Peter Carey. Photo: Getty Images
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Are celebrities deliberately messing up their award show performances?

How the "accidental" tumble came to dominate awards season.

The first thing I saw about last night’s Brit awards is that during Katy Perry’s performance of her new single “Chained to the Rhythm” a dancer – dressed as a house – fell off the stage.

This housing crisis is the most meme-able and memorable moment of the entire awards ceremony, but not because it’s anything new. The house follows in the (tumbling) footsteps of Madonna, who in 2015 fell over on the Brits’ stage after a dancer stood on her giant, flowing cape.

If it seems strange that some of the world’s biggest and best known artists are prone to hiring clumsy back-up dancers, it should. Since I’m-so-normal-in-my-$4m-Dior-dress Jennifer Lawrence fell over at the Oscars in 2013, there has been a spate of televised celebrity mishaps.

In 2014, normal-oh-so-normal J Law decided to take another Oscars tumble. In 2015, Perry’s back-up dancer at the Super Bowl, Left Shark, shot to meme fame for its clumsy and out-of-time dance moves. This New Year’s, Mariah Carey gave a self-described “mess” of a performance.

So is this just a coincidence? After all, celebrities have always had live performance mishaps, the most famous being Justin Timberlake exposing Janet Jackson’s breast during the 2004 Super Bowl. But in the late Tens, thanks to social media, mishaps have become the fastest and easiest way to get talked about. After all, when’s the last time anyone on Twitter recommended a mainstream celebrity’s performance because it was “so very touching and good”?

The proof is in the numbers. Left Shark’s dance moves helped 2015 to become the most Tweeted about Super Bowl ever, with numbers dropping dramatically in 2016 (where Coldplay had no mishap other than their continued existence). Tweets and statuses are one thing, of course, and money is another. After her 2015 performance, Perry started selling Left Shark merchandise in her official online store. Mishaps are profitable in more ways than one.

Social media has therefore revolutionised the celebrity mishap, but so too have the phones from which we post our updates. The fact more of us take our smartphones to live shows means that the public can catch mishaps that might traditionally have been brushed under the rug (or cape). It was an audience member, after all, that caught Perry’s falling house on camera.

Short of a shark/house whistle blower, however, there is no definitive proof of this new celebrity conspiracy theory. Yet when it is known that marketers deliberately outrage consumers to drum up publicity, we have to wonder what PR teams wouldn’t do? A small tumble, after all, is a small price to pay to reach new heights. 

Amelia Tait is a technology and digital culture writer at the New Statesman.