In the Critics this week

Adam Kirsch on stalking, Richard Mabey on urban nature, David Herman on TV nostalgia and much more.

In the Critics section of this week’s New Statesman, writer and former television producer David Herman takes aim at the cosy nostalgia of British TV drama. “British television is on a huge nostalgia binge,” Herman writes. Taking as his examples two enormous ratings successes, Call the Midwife and Downton Abbey, Herman bemoans the “smoothing out” of history that occurs in most of the dramas that make it on to our screens. What we get is “simpler world with the complexities of real history removed”. Series such as these compare unfavourably with the finest fruits of American and Scandinavian TV drama. “A central issue of many of these series,” Herman observes, “is the border between good and evil and the constant worry that the border will not hold.”

Our lead book reviewer this week is the American critic and poet Adam Kirsch, who writes about James Lasdun’s memoir of being stalked, Give Me Everything You Have. Lasdun’s stalker, a former creative writing student of his, traffics in the worst kind of anti-Semitic abuse. “Give Me Everything You Have,” Kirsch argues, “joins a short list of insightful books about Jewish experience and anxiety in the post-9/11 world, along with Howard Jacobson’s The Finkler Question and Philip Roth’s The Plot Against America.”

Also in Books: Richard Mabey reviews Field Notes from a Hidden City, an “urban nature diary” by Esther Woolfson (“Woolfson … isn’t of the school of ‘edgeland’ writers who view urban wildness as insurrectionary … Field Notes from a Hidden City … is genial, readable, warm-hearted and on nature’s side”); David Cesarani reviews Helga’s Diary: a Young Girl’s Account of Life in a Concentration Camp by Helga Weiss (“Helga’s diary resounds with a ferocious will to endure conditions of astonishing cruelty”); Bryan Appleyard reviews The God Argument: the Case Against Religion and for Humanism by A C Grayling (“Grayling, like the other [new atheist] horsemen, goes too far. He narrowly defines religion as a system of physical beliefs and then says such a system has nothing to offer the world”); Anita Sethi reviews Lucy Ellmann’s novel Mimi (“Ellmann’s work is characterised by a delightfully playful style”). PLUS: “The Revenant”, a poem by Fiona Sampson.

In the Books Interview, Jonathan Derbyshire talks to the historian Paul Kennedy about his book Engineers of Victory: the Problem Solvers Who Turned the Tide in the Second World War. “I’m tilting against a very popular strand of literature that says, ‘The decisive battle, the decisive intelligence breakthrough’,” Kennedy tells Derbyshire. “I’m saying that history is much more complicated than that.”

Elsewhere in the Critics: Rachel Cooke reviews two BBC2 documentaries about the railways; Ryan Gilbey reviews Terrence Malick’s To the Wonder and the screen adaptation of David Mitchell’s novel Cloud Atlas; Matt Trueman considers the popularity of banker bashing on the London stage; Kate Mossman reviews new albums by John Grant and Steve Earle; and Antonia Quirke’s listens to various radio programmes from her sick bed.

PLUS: Will Self’s Madness of Crowds.

Members of the cast of Downton Abbey (Photo: Getty Images)
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Hillary and the Viking: dramatising life with the Clintons

August radio should be like a corkboard, with a few gems pinned here and there. Heck, Don’t Vote for Him is one.

Now is the season of repeats and stand-in presenters. Nobody minds. August radio ought to be like a corkboard – things seemingly long pinned and faded (an Angela Lansbury doc on Radio 2; an adaptation of Charlotte Brontë’s The Professor on Radio 4 Extra) and then the occasional bright fragment. Like Martha Argerich playing Liszt’s Piano Concerto No 1 at the Albert Hall (Prom 43, 17 August).

But on Radio 4, two new things really stand out. An edition of In the Criminologist’s Chair (16 August, 4pm) in which the former bank robber (and diagnosed psychopath) Noel “Razor” Smith recalls, among other memorable moments, sitting inside a getaway car watching one of his fellows “kissing his bullets” before loading. And three new dramas imagining key episodes in the Clintons’ personal and political lives.

In the first (Heck, Don’t Vote for Him, 6 August, 2.30pm), Hillary battles with all the “long-rumoured allegations of marital infidelity” during the 1992 Democratic primaries. Fenella Woolgar’s (brilliant, unburlesqued) Hillary sounds like a woman very often wearing a fantastically unhappy grin, watching her own political ambitions slip through her fingers. “I deserve something,” she appeals to her husband, insisting on the position of attorney general should he make it to the top – but “the Viking” (his nickname at college, due to his great head of hair) is off, gladhanding the room. You can hear Woolgar’s silent flinch, and picture Hillary’s face as it has been these past, disquieting months, very clearly.

I once saw Bill Clinton speak at a community college in New Jersey during the 2008 Obama campaign. Although disposed not to like him, I found his wattage, without question, staggering. Sweeping through the doors of the canteen, he amusedly removed the microphone from the hands of the MC (a local baseball star), switched it off, and projected for 25 fluent minutes (no notes). Before leaving he turned and considered the smallest member of the audience – a cross-legged child clutching a picture book of presidents. In one gesture, Clinton flipped it out of the boy’s hands, signed the cover – a picture of Lincoln – and was gone.

Antonia Quirke is an author and journalist. She is a presenter on The Film Programme and Pick of the Week (Radio 4) and Film 2015 and The One Show (BBC 1). She writes a column on radio for the New Statesman.

This article first appeared in the 28 July 2016 issue of the New Statesman, Summer Double Issue