Grace: A Memoir by Grace Coddington
As its readers have been known to endow US Vogue with a semi-biblical air of authority, the recent release of Grace Coddington’s memoir (Coddington is the magazine’s creative director), has been met with much anticipation. Since shooting to fame following R C Cutler’s Cutlers 2009 documentary The September Issue, Coddington has acquired a huge fan base for her fashion-stereotype defying personality. She "‘thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography," writes Booth Moore in the LA Times. As a result, her book is "an engaging memoir", which "for anyone with a passing interest in the fashion industry, [is] worth a read for the name-dropping alone".
Although Moore considers Coddington to be "open about her private life," other critics think the book skimps on personal details. Christopher Muther, writing in the Boston Globe, finds her reticence frustrating: "Coddington seems unable to share her inner biography. The same guarded treatment is given to her two divorces, which she describes matter-of-factly, again subtracting emotion from what was likely a difficult time."
Janet Maslin, reviewing the book in the New York Times, notes that Coddington's prose is hardly reaches high literary standards: "Since Ms Coddington has 'barely read two books in my life that aren’t picture books', the text here… is light and glossy". However, this doesn’t affect its fundamental readability. "She fills the book with comedic little sketches and handily caricatures many friends and colleagues," such as "Puff Daddy’s wanting to appear smack in the middle of a Leibovitz two-page spread despite being told he would disappear into the fold of the magazine".
The criticsagree that Coddington's "delicious, page-turning life story" makes for an engaging read, both for the swinging-Sixties excesses of her early life, as well as for the insights it offers into "‘how fashion has changed from a small, niche business into a global pop culture medium". Look out for our review in the next issue of the New Statesman.
Cruel Britannia by Ian Cobain
Ian Cobain’s study of the use of torture impresses most of the criticsm with the exception of David Blair in the Telegraph. Although Blair says Cobain’s account of the treatment of German spies by British MI5 agents in 1946 is “a genuine contribution to history”, he says the Guardian journalist’s “treatment of two recent cases is troubling”. Referring to the two Britons who claimed they were tortured in Afghanistan, Rangzieb Ahmed and Salahuddin Amin, Blair criticises the omission of “key elements”, including the fact that, in both cases, the Crown Court and Appeal Court rejected important aspects of their case.
In contrast, Stephen Howe in the Independent says “Cobain's work ... offers a dramatic challenge to official dishonesty and public complacency, past and present.” Clive Stafford Smith in the Guardian calls Cobain’s account “excellent” and adds that it is “a vital contribution to our evaluation of how Bush and Blair – and their heirs – have thwarted the march towards democratic openness”.
Through the Window: Seventeen Essays (and one short story) by Julian Barnes
Although Julian Barnes is best known for his award-winning fiction, it seems he is capable of entrancing readers with any kind of book. Through the Window delights many reviewers, including the Telegraph’s Robert Douglas-Fairhurst, who praises Barnes’s “ability to make the familiar look unfamiliar, holding pieces of writing up to the light and slowly turning them until they start to glint”.
Likewise, Roger Lewis in the Financial Times enjoys the writer’s “muted, cagey, crafty, close” prose and how “suddenly, almost without our noticing it, a person is put very firmly in their place... I particularly relished the way the hitherto unimpeachable Orwell is dismantled with remarkably little fuss”.
Leo Robson, in this week’s edition of the New Statesman, is rather more critical: “In his fiction, Barnes manages to forge some ironic distance from this perspective; but writing in his own voice, he is confined to it, with unpalatable results.” The critic adds that “[e]ven the most enthusiastic essays here are full of rib-nudges and eye-pokes.” Robson examines Barnes's apportioning of praise and blame: “In the course of praising Penelope Fitzgerald, he makes various detours to disparage those who disparaged her, never troubling to explain that his knowledge comes from Fitzgerald’s own letters, hardly unbiased testimony.”