Reviews Round-up

The critics' verdicts on Richard Davenport-Hines, Mark Binelli and George Saunders.

The Tenth of December by George Saunders

Acclaimed short-story writer George Saunders darkly satirises modern life in his fourth anthology, The Tenth of December..Through the eyes and minds of ten characters, it envisages the gulf between dreams and reality in suburban America.

For Joel Lovell, of the New York Times, it is the “best book you’ll read this year”. Other critics’ praise is more reserved.

David Wolf, writing in The Observer, applauds the author’s skillful storytelling and “the exhilirating explosion of slang, neologisms and fake product names”. Saunders’ writing is at once comparable to Kurt Vonnegut’s “deadpan absurdism” and The Simpsons with his mix of “crude and sophisticated satire” and warm optimism. Nevertheless, Wolf criticises the inability of the MacArthur Genius Award winner to develop his writing style: “Saunders’ first collection for six years delivers all we expect but nothing new.” He added: “It seems like he’s stuck.”

In a review that charts Saunders’ backlash against his former idol and arch-rationalist Ayn Rand, Ludovic Hunter-Tilney welcomes the “sustained attack on the ideology of individualism.” For the Financial Times writer, it “overturns the belief that altruism is evil and instead suggests that helping others is the core component of our being”. The “blackly comic” book is only criticised for the tendency of the ten stories to seem formulaic because of Saunders’ distinctive style.

Alice Charles’ review for the Huffington Post UK, while commending The Tenth of December for its insight into characters’ minds, similarly criticises its repetitiveness. The habit of revisiting characters, themes and ideas “in a collection of just ten stories, feels like a bit of a cheat.”

 

The Last Days of Detroit by Mark Binelli

Mark Binelli’s Last days of Detroit, soon to be reviewed in the New Statesman, tells the story of the boom and bust of what was once America’s fourth largest city. A former Detroit-native himself, the critics are divided on the perspective this brings for Binelli’s telling book.

Andy Beckett writes for the Guardian, and points to the author’s “busy, knowing prose” as the cause for the frequently quick and flippant tone; highlighted on one occasion where Binelli heedlessly skims over three decades of history exclaiming that “nothing much interesting happened in Detroit for the next thirty or so years …". Beckett is more critical of the beginning of the book, where he claims it reads more like a book proposal than a book itself, “authoritative but self-conscious, switching restlessly between past and present”, however he praises Binelli on his subsequent coverage of Detroit’s decline.

Rose Jacobs of the Financial Times finds that Binelli provides a charming narrative, managing to associate with the reader through personal asides and footnotes that show him to be “playing the tongue-tied non-expert”. As amiable as this may be at times, asserts Jacobs, the “ingenue’s approach” was also occasionally irksome. She concludes that the success of the book waivers, completely relying upon the subjects interviewed in each chapter.

Mick Brown’s review for The Telegraph commends Mark Binelli, deeming him “an assiduous reporter” and credits him with avoiding making the book an epitaph of Detroit. He identifies Binelli’s optimism amongst the ‘devastation porn’ that was the decline, but does query the lack of photographs that would have been so fitting in what is “otherwise an excellent book”.

 

An English Affair by Richard Davenport Hines

Celebrating the 50th anniversary of the Profumo affair, Richard Davenport-Hines bawdily retells how the war minister romanced the reputed mistress of a Soviet spy, Christine Keeler. In the throes of Cold War fever, politicians and the media convulsed at the idea of high-risk “pillow talk” that, followed by lying in the commons, forced resignation and framing, purportedly sowed the seeds of Macmillan’s demise.

The English Affair: Sex Class and Power in the Age of Profumo has divided critics who draw different lessons from the 1963 event.

Susan Elkin, writing in The Independent, praises Davenport-Hines as a “sparkling and compelling writer” and meticulous researcher. She draws parallels with the present: “it is hard to read his book without reflecting that we are still agonising over press freedom and the extent to which private lives are relevant to public office.”

By contrast, Vernon Bogdanor craves more context in the “racy read”. An English Affair re-runs a widely-told old story; “It is not entirely clear what purpose is served by further exhumation.” The New Statesman writer speculates that the affair thwarted chances of a Conservative election victory in 1964 that may have forced Labour to modernise 30 years before Blair. “The consequences are far more important than the cultural implications that Davenport-Hines analyses.”

The Guardian’s Blake Morrison nonetheless welcomes An English Affair as “an antidote to the current nostalgia for the period”. It exposes the “double standards of the early 60s” in which the welfare state, far from banishing spivs, encouraged a new generation of merchant adventurers who “transformed the capital with brutal phallic modernity”.

“For anyone who imagines things were better in the age of ‘never had it so good’,” writes Morrisson, “this book should be compulsory reading.”

Detroit River during a race, the Detroit skyline in the background. (Getty Images)
Photo: Warner Bros
Show Hide image

Every single line spoken by actor Harry Styles in the movie Dunkirk, evaluated

Judging the actual speaking and acting the from teen icon.

When it was announced that Harry Styles had been cast in Dunkirk, most people assumed it was a Drew Barrymore in Scream sort of deal. A big name, who would be plastered over the posters, front and centre at promotional interviews, but given a barely-speaking part and probably killed off in the first five minutes. Not so! Not only does he not die early on, Harry has a very significant amount of time on screen in Dunkirk, and even more surprisingly, a lot of that time involves actual speaking and acting from the teen icon. In this action-heavy, dialogue-sparse film, he has more lines than most.

Of course, the most normal human response to this revelation is to list every single time he speaks in the film and evaluate every moment on a line-by-line basis. So here it is. Every single line spoken by actor Harry Styles in the movie Dunkirk, evaluated by a very impartial Harry Styles fan. Let’s go.

Obviously, this contains spoilers for Dunkirk.

“What’s wrong with your friend?”

It’s the first line, but it’s a goody. So nonchalant; so effortless; breezily accompanied by a mouthful of toast and jam. Curious, friendly – but with dangerous edge. A lurking threat. A shiver of accusation. This sets up Alex as a normal, if self-assured, bloke who also wants to be sure you’re not about to get him killed. A very strong debut – the kind of line that, if you didn’t know better, would make you think, “Hm, who’s this charismatic young guy”?

A cheer.

Solid 8/10 cheer, believe this guy has cheered before.

“You can’t leave us! Make some room!”

It’s only been ten minutes, but things have really kicked up a notch. Raspy, panicked, desperate, this line left my heart jumping for my poor sodden son. A triumph, and certainly one of Harry’s best lines.

“Hey!”

Here, Alex yells “Hey!” to get the attention of other soldiers, which turns into louder, repeated cries for their attention. I can find little wrong with this “Hey”, and indeed later “Hey”s, but I would not nominate it for an Oscar. This “Hey” is just fine.

“What’s that way?”

I believe that Alex does not, in fact, know what is that way. (It’s a boat.) 7/10.

“S’grounded!”

Alex has delivered the last three shouts with exactly the same intonation. This is good because normal people do not opt for variance in tone when desperately yelling at each other across the beach. I also appreciate the lack of enunciation here. Great work, Harry.

“’ow long’s that?”

I believe that Alex does not, in fact, know how long it will take for the tide to come in. (It’s about three hours.) 7/10.

“Poke yer head out, see if the water’s come in”

Alex is ramping things up a notch – this is authoritative, even challenging. Excellent pronunciation of “aht”, more great slurring.

“Talkative sod, aren’t ya?”

A big line, important for the growing hints that Alex is mistrustful of the silent soldier in their group. And yet not Harry’s absolute best. A little too much forced vowel for me.

“For fuck’s sake!”

Oh my God, we’re here now boys. It’s begun. The water’s not come in. Forget the high-explosive, Alex has only gone and dropped a bloody F-bomb, and Harry’s performance is actually stressful. What an about-turn. Delivered with spitting fury; the “for”, if there at all, almost inaudible; a dropped box clanging to the ground for extra impact. We know that Harry ad-libbed this (and a later) F-word, and this spontaneous approach is working. A truly superb go at doing some swearing. 10/10.

“Yeah but ’ow long?”

I would describe this delivery as “pained”. A little groan of fear hangs in the back. This is, as they say, the good shit.

“Why’d you leave your boat?”

This whispered anger suits Harry.

Some extreme shushing.

Definitely would shush.

“We have to plug it!”

Alex’s heart doesn’t seem really in plugging the bullet holes in the boat, despite the surface-level urgency of this delivery, probably because he doesn’t want to get shot. Nuance. I like it.

“Somebody needs to get off.”

A mic drop of a line, delivered with determined focus.

“I don’t need a volunteer. I know someone who ough’a get off.”

The way his cadence falls and his voice falters when as he reaches the word volunteer. It’s a sad, resigned, type of fear, the type of fear we expect from Rupert Grint’s Ron Weasley. Harry’s dropping clues that Alex doesn’t really want to be shoving anyone off a boat to their deaths. But then Alex steels himself, really packing a punch over that “ough’a”.

“This one. He’s a German spy.”

The momentum is building, Alex’s voice is getting breathier and breathier, panic is fluttering in his voice now. I’m living for each and every second of this, like a proud mother with a camcorder. You’re doing amazing, sweetie.

“He’s a focking Jerry!”

Go on my son! Harry’s voice is so high only dogs can hear him now. The mix of fear and aggression is genuinely convincing here, and more than ever it feels clear that you’re practically watching a group of schoolboys with guns scared out of their minds, desperate to go home, who might shoot each other dead at any second. This is undoubtedly the pinnacle of Harry’s performance.

“Have you noticed he hasn’t said a word? ’Cause I ’ave. Won’t speak English: if he does it’s in an accent’s thicker than sauerkraut sauce.”

This is, objectively, the silliest line in this film and maybe any film, ever, and I love it. Never before have the words “sauerkraut sauce” been uttered as a simile, or as a threat, and here, they are both. Inexplicably, it sort of works through Harry’s high-pitched voice and gritted teeth. My personal highlight of the entire movie.

“Tell me.”

Alex is going full antagonist. Whispered, aggressive, threatening. It is safe to say I am dead and deceased.

“Tell me, ‘Gibson’”.

Ugh, now with an added layer of mockery. I am dead, but also please kill me.

“A frog! A bloody frog! A cowardly, little queue-jumping frog. Who’s Gibson, eh? Some naked, dead Englishman lying out in that sand?”

Brexit Harry Styles is furious, and his accent is going a bit all over the place as a result.

“Maybe he killed him.”

Just-about-believably paranoid.

“How do we know?”

This is too close to the delivery Harry uses in this vine for me to take seriously, I’m deeply sorry about that.

“Well, we know who’s getting off.”

I believe that Alex does, in fact, know who is getting off. (It’s the French guy.) 7/10.

“Better ’im than me.”

I agree!!!!!

“Somebody’s gotta get off, so the rest of us can live.”

Empassioned, persuasive, fervent. When glimpsed in trailers, this moment made me think Alex would be sacrificing himself to save others. Not so! He just really, really wants to live. A stellar line, executed very well.

“Do you wanna volunteer?”

Good emoting. I believe the emotion used here is “disbelief”.

“Then this is the price!”

I believe the emotion used here is “desperation”.

“He’s dead, mate.”

So blunt, delivered with an awkward pity. A stand-out moment thanks to my high quality son Harold.

“We let you all down, didn’t we.”

Dahhn. Harry lets us know this is not even a question in Alex’s mind, its a fact. Poor depressed little Alex.

“That old bloke wouldn’t even look us in the eye.”

The weird thing (irony? joke?) here is that the old bloke is actually blind, not refusing to look them in the eye. Slightly bizarre, but Harry rolls with it with this relaxed approach to the word “bloke”.

“Hey! Where are we!”

Good God I love this rousing line. The bell chiming in the background, the violins stirring. There is something curiously British about this line. Something so, “‘What’s to-day?’ cried Scrooge”. Here, Harry is doing what he did best in the early one direction days - being a normal lad from a normal town whose life was made extraordinary even though he’s just, like, so totally normal.

“What station!”

I take it back, THIS is probably my favourite line of the whole movie. Purely because it sounds exactly like Harry Edward Styles on an average day, going about his business, asking what station he’s at. Alex who?

“Grab me one o’ them papers! Go on!”

Now, this, I love. Newcastle brown in hand, f’s dropped, a “go on” barely lacking a “my son”. Put a flat cap on the lad and hand him a chimney sweeping broom - we are in deliciously caricatured Brit territory.

“I can’t bear it. They’ll be spitting at us in the streets, if they’re not locked up waiting for the invasion.”

How rapidly joy turns to ashes in our mouths. One second so elated, with the nostalgic scent of home quivering in his nostrils, Alex is now feeling extremely sorry for himself (fair enough, to be honest). A fine “sad voice” here.

“I can’t look.”

The “sad voice” continues.

“Wha’??”

Hahahahahaha. Yes.

And with this very confused noise Harry Styles closes his debut film performance, which I would describe as extremely solid. Even if I am fuming that he didn’t get to die, beautifully, and at length. Well done Harold.

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