Reviews round-up

The critics' verdicts on Richard Weight, Sheryl Sandberg and Rory Carroll.

Mod: A Very British Style by Richard Weight

In Mod: A Very British Style, Richard Weight tells the story of Britain’s first and most influential youth cult, charting its origins in the Soho jazz scene in the 1950s. Writing in the Guardian, John Harris says that reading Mod conjured Proustian flashbacks for him and that as an adolescent growing up in the 1970s, “I was consumed by my first taste of what Mod had left behind, and it changed me forever: the initial rites included a poleaxed listen to the Who's My Generation.” Written by an academic, the book attempts to establish that Mod was not only the first distinctively British youth culture but a popular form of modernism – “an avant garde reaction to mainstream aesthetics, morality and politics.” However, Harris explains that uncertainty clouds Mod’s origins and its legacy: "Perhaps … we are all modernists now". Harris provides a critical analysis of the style: “Weight opts for a scattershot narrative, brimming with second-hand quotations, a bit like an undergraduate dissertation.” The main criticism is that the although the Mod ideal boils down to an emphasis on sharpness and an attention to detail, the book in contrast is rambling and so “it ends up missing its target, by miles.”

In contrast, Walter Ellis writes in the Spectator that Richard Weight has crafted an “elegant and thoughtful compendium” showing that there was more to the youthful revolt than Beatlemania and the Who. Ellis describes Mod as a social movement wrapped up in a fashion statement, and that Weight’s thesis can be summarised as showing that the Mods were a “populist version of the Enlightenment”. He concludes by saying “what matters is that he has done his job well” and is sceptical of what future cultural historians will make of the youth of today.  

Lean In: Women, Work, and the Will to Lead by Sheryl Sandberg

Sheryl Sandberg, chief operating officer of Facebook, gave a motivational Ted talk in 2010 about women in the boardroom, and Zoe Williams writes in the Guardian that her book Lean In is an “elongation” of this speech. Williams explains that this “is not a book about how women can become more equal: this is a book about how women can become more like Sheryl Sandberg”. It is a “goal-driven, ideology-free approach has some fascinating insights into the world of business itself”, and Sandberg’s thought processes leading her to Google and interview process for Facebook are “magnetic.” Sandberg’s approach is “emollient and inoffensive” and brings in relevant experiences of her own, “describing the "damned if you do, doomed if you don't" bind that women find themselves in if they boast about their achievements. Williams points out that despite winning a Henry Ford scholarship for her attainments in her first year at business school, jointly with six men, Sandberg didn't consider telling anyone, and that it is disappointing that a woman in the 1980s didn’t have the “spine to admit she was clever”.

On the other hand, Anne-Marie Slaughter in the New York Times writes that Sandberg is a “feminist champion” and that Lean In is “full of many such gems, slogans that ambitious women would do well to pin up on their wall”. For example, the phrase “It’s a jungle gym, not a ladder” describes the many different paths careers can take, sideways and even downward on their way up. At the same time, she concedes that the advice to young women to be more ambitious “can sound like a finger-wagging admonishment when taken out of context”. Slaughter explains that “Sandberg is not just tough, however. She also comes across as compassionate, funny, honest and likable.” Sandberg’s point in a nutshell is that “notwithstanding the many gender biases that still operate all over the workplace, excuses and justifications won’t get women anywhere. Instead, believe in yourself, give it your all.”

Comandante: Inside Hugo Chavez’s Venezuela by Rory Carroll

The Telegraph’s David Blair humourously writes “To survive in the court of King Chávez, you had to 'mould' your face into a mask and 'arrange features into appropriate expressions when on camera,'" writes [rory] Carroll. 'This,' he adds, 'was tricky when the comandante did something foolish or bizarre.’”

Rory Carroll’s latest book, Comandante has received much praise for the nuanced profile it offers of the “Bolivarian Revolutionary”, Hugo Chavez. Carroll, who has experience in reporting from regions, such as Iraq, with hostile political conditions, spent his next assignment in Venezuela. He reported from 2006-12 from a country where corruption, bureaucracy and crime rates were quotidian fare. Blair praises Carroll’s book as “beautifully written and acutely perceptive book … on the nature of power, in all its corruption and absurdity.” He later adds: “Now that the comandante has passed on, Carroll will have to update his account. When he does, this book will deserve to be the definitive work on Chávez in the English language.” The Financial Times’s Julia Sweig also praises Comandante as “a compellingly written, keenly reported portrait of Venezuela…He writes with tremendous pathos in explaining Chavez’s appeal to the millions of poor Venezuelans who, for decades felt, and largely were, invisible to the ruling elite.” She highlights how the book explains the Venezuelan public’s changing opinion of Chavez; having seen him as the face of change, they came to realise that he differed little from those who came before him.

The Independent’s Oliver Balch adds that the book “excels in showing what happens when a self believing ideologue grasps the reins of government and determines not to let go. It’s military politics, without the guns: outflanking opponents, consolidating power, barking orders, reprimanding ministers.” Balch observes how Carroll’s observations grow increasingly critical and animated towards the end of the book, yet he states this “criticism is built on an earnest attempt to understand a fascinating politician.”

Balch, Blair and Sweig all applaud Carroll’s favourable position to provide an insightful portrait of Chavez; which as Balch rightly observes, reveals “a more intimate image of Chavez than his own propaganda allows”.

A policeman escorts a teenager in 1964 after violence between Mods and Rockers in Margate, Getty Images, photographer Ronald Dumont, Hulton Archive
Kyle Seeley
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For emotional value, Emily is Away – a nostalgic instant messaging game – is this year’s best release

If you want to express your lingering teenage angst, there’s no better option.

Every now and then, a game is released that goes beyond what it may look or sound like. It goes straight to the pit of your insides where you thought you had no soul left, and jolts you back to life. Or at least it attempts to. This year, it's Emily is Away.

Firstly, anyone and everyone can virtually play this thing as it’s a crude Windows XP simulator displaying an AIM/MSN messenger client and can run on the PC equivalent of a potato. And it's free. It’s a short game, taking about 30 minutes, in which you play a person chatting away to your friend called Emily (who could be more), choosing from a set list of pre-selected instant messages.

Each chapter takes place in a different year, starting in 2002 and ending in 2006.

You’re instantly smacked with nostalgia thanks to the user screen of Windows XP and a fuzzed out background of Bliss, which was the default wallpaper in the operating system, and probably the most widely seen photo in the world. And your ears aren’t abandoned either, with the upbeat pinging sounds reminiscent of how you used to natter away with your personal favourite into the early hours.

The first chapter starts with you and Emily reaching the end of your last year in high school, talking about plans for the evening, but also the future, such as what you’ll be studying at university. From this early point, the seeds of the future are already being sewn.

For example, Emily mentions how Brad is annoying her in another window on her computer, but you’re both too occupied about agreeing to go to a party that night. The following year, you learn that Brad is now in fact her boyfriend, because he decided to share how he felt about Emily while you were too shy and keeping your feelings hidden.

What’s so excellent about the game is that it can be whatever you wish. Retro games used the lack of visual detail to their advantage, allowing the players to fill in the blanks. The yearly gaps in this game do exactly the same job, making you long to go back in time, even if you haven't yet reached the age of 20 in the game.

Or it lets you forget about it entirely and move on, not knowing exactly what had happened with you and Emily as your brain starts to create the familiar fog of a faded memory.

Despite having the choice to respond to Emily’s IMs in three different ways each time, your digital self tries to sweeten the messages with emoticons, but they’re always automatically deleted, the same way bad spelling is corrected in the game too. We all know that to truly to take the risk and try and move a friendship to another level, emoticons are the digital equivalent to cheesy real-life gestures, and essential to trying to win someone’s heart.

Before you know it, your emotions are heavily invested in the game and you’re always left wondering what Emily wanted to say when the game shows that she’s deleting as well as typing in the messenger. You end up not even caring that she likes Coldplay and Muse – passions reflected in her profile picture and use of their lyrics. She also likes Snow Patrol. How much can you tolerate Chasing Cars, really?

The user reviews on Steam are very positive, despite many complaining you end up being “friend-zoned” by Emily, and one review simply calling it “Rejection Simulator 2015”.

I tried so hard from all of the options to create the perfect Em & Em. But whatever you decide, Emily will always give you the #feels, and you’ll constantly end up thinking about what else you could have done.