Reviews Round-Up

The critics' verdicts on Joseph Stiglitz, Sheila Hale and John Banville.

The Price of Inequality by Joseph Stiglitz

 
“Economic power is shifting to the east, putting huge pressure on tax revenues. Meanwhile social needs are rising – because of economic inequality (including 25 million unemployed in Europe), on the one hand, and social pressures from demographic changes, on the other”, writes guest-editor David Miliband in his leader for the New Statesman this week. In this context, the publication of Joseph Stiglitz’s The Price of Inequality is timely. Stiglitz has been “a notable crusader against austerity economics and in favour of tighter controls on financial capital”, writes Robert Kuttner in the NS. Kuttner praises Stiglitz’s “rare combination of virtuoso technical economist, witty polemicist and public intellectual”, as well as the economist’s “refusal to pull his punches” – a characteristic that has left him marginalised in Barack Obama’s Washington. “That is a huge loss for sensible policy,” warns Kuttner. The Price of Inequality moves beyond the social effects of rising inequality, to examine its negative economic consequences in producing a macroeconomic drag. Furthermore the economist demonstrates a hardening of class lines, with the top 1 per cent transforming into a hereditary elite. Stiglitz considers how a more egalitarian society is better suited to maintain macroeconomic balance. Significantly, Stiglitz argues that severe economic inequality is accompanied by a significantly uneven influence on the setting of economic rules. “This puts at risk not just decent capitalism but democracy, too,” Kuttner concludes.
 
Yvonne Roberts, writing in the Observer, praises Stiglitz for his passionate description of how “unrestrained power and rampant greed are writing an epitaph for the American dream”. Stiglitz does so not according to a revolutionary creed, “but in order that capitalism be snatched back from free market fundamentalism and put to the service of the many, not the few”. In this sense, Stiglitz joins a band of economists including Paul Krugman and Michael J Sandel “who are trying to inject morality back into capitalism”. But Stiglitz’s remedies to curb the wealth of the top 1 per cent are too extreme for Samuel Brittan, writing in the Financial Times. “For most of my writing career”, Brittan writes, “I have been unmoved by the 'equality' brigade”. Brittan finds a reflection of the state of US politics in “the shrillness and bitterness” of The Price of Inequality. Stiglitz’s unsurprising advocation of managed capitalism - top tax rates above 70 per cent, restoration of union powers and curbs on globalisation, leaves Brittan with waning sympathy. 
 

Titian: His Life by Sheila Hale

 
In a new biography of Titian, Sheila Hale attempts to plug the gaps in our knowledge of the Venetian painter, following the last full biography in English published in 1877. Mark Hudson, writing in the Telegraph, deems that the celebrated “richness and complexity” of his paintings is not reflected in details of his life. Hale may be “full of arcane and intriguing facts about the city”, but Hudson feels that “the book doesn’t get us much closer to Titian as a human being”. Hudson forgives this - “devastating revelations about such distant events can’t be summoned out of thin air”. Despite crediting to Hale an “evident, sometimes wide-eyed, awe of the artist”, Hudson observes that “Venice itself is Hale’s first love” and “rather than try to minutely integrate the art and the life, she provides great wodges of socio-cultural context then tries to weave Titian into it.” Hudson questions the complex “artistic personality” that must lie beneath, but concedes that “where there’s a good story to be told, Hale retells it efficiently” and seems happy to finally see shadows of contemporary characters “step into the light for the first time.”
 
The Independent's Fisun Güner laments a shy portrayal of Titian's character, saying “the artist appears as the shadowy companion to the thing that really seems to fascinate this biographer, Venice itself.” Güner finds that the biography makes for an enchanting journey through Venice, and while Titian himself is more difficult to explore, “it's easy to lose oneself in this absorbing portrait of La Serenissima”. Güner stops to note Titian as the “hard-headed businessman” in Hale's account, and though heaped under her “devotional praise”, “Titian didn't embody the Renaissance ideal of the artistic genius”; what Hale shows instead is a compelling but strategic account of what few facts we know about Titian and his city. Michael Prodger makes a similar judgement in the Guardian, adding that Hale's biography is “an example of measured scholarship, judicious opinion, and telling framing detail”, emphasising Titian as Hale portrays him: the great and humble genius we know him as today. 
 

Ancient Light by John Banville

 
“Prose stylists share a tendency to ripen and then rot”, observes Claire Kilroy in her review of John Banville’s Ancient Light for the Financial Times. While Banville’s The Sea won him the 2005 Man Booker Prize, The Infinities (2009) “proved a perplexing read”. Left at a crossroads, Ancient Light – the third instalment in Banville’s Cleave trilogy, finds the author electing “to have a moment”. Banville revisits Alexander Cleave, an actor whose only child Cass lost her life in mysterious circumstances in Italy. 10 years later finds the retired Alexander still lost in the difficulty of his daughter’s death, narrating a tale that is “illuminating and often funny but ultimately devastating”.  The strands of Alexander’s life blend “into a single meditation of breath-taking beauty and profundity on love and loss and death, the final page of which brought tears”.
 
A “sense of distortion, of objects and people being turned into things of “fragments and disjointure” persists throughout” as Alexander looks back at a love affair with his best friend’s mother from his teenage years, writes John Preston in the Telegraph . “We’re in a world where the past is more vivid than the present, and the dead somehow more alive than the living”, observes Preston, noting that while Banville’s use of language “dips into self-consciousness at times, it can also be startlingly brilliant”. But Preston considers the two halves of the book – the idyllic account of Alexander’s affair and the more “forced” contemporary narrative, and finds a combination that ultimately makes for “an uneasy pairing”. Leyla Sanai in the Independent  agrees that Banville “perfectly captures the spirit of adolescence, the body yearning for sexual experience, the mind blurring eroticism and emotion” and is “astute on the emotions of sexually abused boys who crave the sex but may resent their lost childhood”. Like Kilroy, Sanai finds that Banville’s rich, startling imagery makes for a reading experience “akin to gliding regally through a lake of praline”, his Nabokovian prose “a slow, stately process, delicious and to be savoured”.
 
Prophet warning: Joseph Stiglitz (Photo:Getty)
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Only Drake could wow the O2 by pointing out random audience members' clothing

It takes charisma to pull off abandoning hits halfway through.

On the last London night of his Boy Meets World tour (20 March), Drake doesn’t come on stage until 10pm, which is enough to kill off most gigs at the O2 Arena (hello, Bieber), as people are worried about getting the Tube home. The amount of rum and Coke in the room – a steaming, unrecognisable space with a false ceiling of globular lights and a stampeding crowd split in half by a fence – certainly helps keep the buzz. But who’d have thought that a man standing onstage diligently pointing at audience members and saying what they’re wearing (“You in the blue dress shirt with the ­lager!”) would constitute one of the most exciting nights the O2 has seen in a while?

“Tonight is not a show, not a concert, not about me,” says Drake, who runs an annual “Drake Night” in Toronto and once visited Drake University in Iowa.

So far, the world’s favourite rapper – his latest album, More Life, recently got 90 million streams on its first day of release on Apple Music alone – has had a shifting identity. His songs capture a new strain of emotionally literate but solipsistic hip-hop, which can feel intense or whiny depending on how you look at it. His offstage behaviour is Type-A rapper – he has been accused of throwing beer bottles at Chris Brown, he has been punched by Diddy and he has had altercations with Jay Z, Kendrick Lamar, Pusha T and Ludacris.

But Aubrey Drake Graham, the son of a white, Jewish mother and an African-American father who once played drums alongside Jerry Lee Lewis, does skits about his petulance on Saturday Night Live (see “Drake’s Beef”). Emotionally demonstrative, openly dysfunctional, a bit of a bruiser, with an ability to flit between a dozen styles of music while expressing a desire for crowd participation that borders on the needy . . . Could this man be the ­Michael Bublé of hip-hop?

Drake’s sprawling two-hour roadshow is held back from chaos by the force of his physical presence. Blunt-headed with muscular, sloping shoulders and mesmerising, nimble feet, he prowls the edge of the stage. He has had so many hits (and has so many guest stars tonight) that he is not interested in playing them all the way through. Instead, recalling Prince in the same venue ten years ago, the show becomes a series of medleys. With just a drummer and a synth player at the back of the stage, he demonstrates an invisible, physical control over the music, operating it like a string puppet, stopping or starting songs with the drop of a foot or the shrug of a shoulder, so they collapse in the middle and are gone.

It takes charisma to pull off abandoning hits halfway through. Pointing at people in the audience, real or imaginary, is a music hall thing. Bruce Dickinson and Metallica’s James Hetfield do it too. Amid a hokey message to follow your dreams, he recalls his time spent singing for $200 a night as a John Legend tribute act. Cue a perfect demonstration of Legend-style singing – before he suddenly sloughs off “all this bathrobe-and-candle-sexy acoustic Ed Sheeran shit”, while huge columns of flame engulf the stage.

Drake is still at his best with blue, slinky songs of alienation – “9”, “Over”, “Feel No Ways” and “Hotline Bling”, which doubles up as make-out music for the couples in the crowd. One pair of lovers, Drake establishes during one of his crowd surveys, have been together for ten years. “I can’t even make a relationship last ten days,” he laments. In 2012, he told the Guardian, “I’ve had too many girls to ever feel uncomfortable about the man that I am.” An old-school boast from a modern man.

The guest stars serve to highlight Drake’s variety, rather than shine on their own. Their songs, too, are started, suspended, chopped and screwed. Drake is more macho when there’s another guy onstage with him – doing “Successful”, with the literally named Trey Songz, or dueling with thefrenetic Skepta, who sounds so much tougher (maybe because he’s a Londoner). The two whirl around the stage like helicopter seeds.

Nicki Minaj, apparently Drake’s one-time lover, rises fembotishly from a hole in the stage and says in a London accent, “I want some fucking crumpets and tea.”

She adds, of her host, “This nigga single-handedly changed the game.” Minaj sings her song “Moment 4 Life”: “I call the shots, I am the umpire . . .” But she doesn’t really. Even her presence flares up quickly and is gone.

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 23 March 2017 issue of the New Statesman, Trump's permanent revolution