Reviews round-up | 14 January

The best of the critics this week on Helen Dunmore's war novel The Lie, philosopher-scientist Joshua Greene's Moral Tribes and Jack El-Hai's foray into criminal minds in The Nazi and the Psychiatrist.

The Lie by Helen Dunmore

"While The Lie may be the first literary reimagining of the First World War in this centenary year, it will undoubtedly prove one of the most subtle and enduring," writes an enchanted Stephanie Merritt in the Observer. Written with a "poet's feeling for language", Helen Dunmore's latest novel is a "quiet tragedy". It depicts the troubled return home of a shell-shocked young soldier, Daniel, to "a village full of absences and the news his mother is dead."  Merritt praises the author for offering "glimpses of hope and redemption, even as the inevitable consequences of Daniel's life begin to close in on him."

"Dunmore's is a very good novel. 2014 is a very good year to read it", writes John Sutherland in the Times as the political row over the memory of the war escalates. The author's "imagination and research" shines through, particularly in its "vivid", first-person flashbacks to the "horrors of the trenches".  She teases out the tensions of class and sexuality, with Daniel and a soon-to-die officer realising "in the mud, blood and filth of the trenches, that they're not just pals." Sutherland's only criticism is that Dunmore was not there - "The best novels about the conflict are by those who spilt blood."

Boyd Tonkin at the Independent disagrees, congratulating Dunmore as one of an "admirable group of modern women writers who have kept faith with the scarred victims". This "hallucinatory novel of survivor-guilt, delayed trauma and the loving cross-class friendships war made and broke" is a must-read for the young, Tonkin writes. The war's horrors may be "familiar", but there is nothing formulaic in Dunmore's powerful renditions of the "hellish texture of the trench mud, 'thick, almost oily, full of shit and rotten flesh, cordite and chlorite of lime'". Essential reading for new generations to "learn these truths again".

 

Moral Tribes by Joshua Greene

We are programmed to be moral only towards our own tribes, philosopher-scientist Joshua Greene argues in his new book. For the Guardian's Salley Vickers, "Greene's radical contention is that the world will only be saved if we transcend our intuitive responses in favour of ... utilitarianism, the greatest good for the greatest number." Vickers is persuaded our group biases are at the root of "racism, sexism, class war ... and countless conflicts and atrocities", but finds Greene's solutions "inoperable". Utilitarianism fails as a basis for agreement between groups  because "it leaves unanswered the problem of who decides the general 'good'". 

Sceptics about utilitarianism "will not be persuaded", Natalie Gold agrees in the Times Higher Education Supplement, but Harvard professor Greene still has "something new to bring to the debate". Drawing on thought experiments carried out by the author, the work is "particularly strong on the psychology of moral judgment". Gold takes issue with Greene's treatment of "manual" versus "automatic" responses, however, unconvinced that our "manual" reasoning is always utilitarian and always better than following your gut.

Utilitarian decision-making demands an "absolutely impartial perspective" that even the author lacks in dedicating the book to his wife, Julian Baggini observes in the Financial Times.  But moral philosophy must "put our particular attachments at its core, not view them as "species-typical moral limitations to be overcome", Baggini argues. He nonetheless hails Green's achievements in a valuable "synthesising work that nails what is centrally important, such as the observation that 'We've been looking for universal moral principles that feel right, and there may be no such thing'".

 

The Nazi and the Psychiatrist by Jack El-Hai

"Were the Nazis mad, or bad? That question still hangs over the history of the Second World War, and perhaps explains our enduring cultural fascination with the meaning of Nazism," Ben Macintyre writes in the Times. American army psychiatrist Douglas Kelley had the chance to find out for himself after the war when he was selected to analyse the captive criminals at Nuremberg. El-Hai recounts Kelley's forensic probing into their brains, revealing "narcissism, self-delusion, and indifference" - but not madness. Sadly the "markedly less enthralling" personal life of the psychiatrist dominates the book's second half, but its central thrust is an important one. Finding Nazis "perfectly sane" may be medically frustrating, but it is "morally satisfying to leave the perpetrators of the worst crime in history entirely responsible for their own actions".

Leyla Sanai in the Independent is more disturbed by the book's conclusions. "The finding that relatively normal men could enact such crimes led Kelley to fear that similar barbaric atrocities could arise elsewhere," Sanai writes. She highlights Kelley's prediction that "workaholics with strong convictions might elsewhere show similar disregard for the lives of others". The insights into Hitler's leading henchmen are fascinating, revealing the "ruthless" Goering as a "sociable, loving family man who had adored animals" and Streicher as owner of "the largest pornography collection ever seen." A "detailed, meticulously-researched book" , exploring the minds of these "relatively" normal men.

Peter Lewis in the Daily Mail is more reluctant to accept "current majority opinion that the Nazi mind was a myth", in a review entitled "A joke-cracking, hymn-singing, wife-loving psycho". The reviewer finds Kelley's bizarre behaviour almost as enthralling as Goering's, arguing the psychiatrist  "had in some ways a similar personality" to his subject. Both were  "ambitious, go-getting, workaholics", and both used cyanide to take their own lives. According to Lewis, "psychiatrists have continued to debate the 'Nazi mind'". Kelley's fellow interrogator "published his own book saying all the Nazis had been psychopaths." On the evidence of Goering's extraordinary comments on Auschwitz - "Well, it was good propaganda" - Lewis concludes Kelley's work was "hardly an exact science". 

 

Helen Dunmore paints the horrors of the trenches in The Lie. Photograph: Getty Images
Photo: NRK
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Skam, interrupted: why is the phenomenally popular teen drama ending before its peak?

The show has been building towards high school graduation – but now it’s ending before its lead characters finish school.

“Have you heard they started their bus already?”
“No!”
“One month into high school – and they started their bus.”

This Skype conversation between Eva and Isak comes early in the first episode of Skam. The phenomenally internationally successful series follows teenagers at a high school in Oslo. The “bus” they're discussing is a key plot point and concern of the students' lives. That’s because, in Norway, graduating high school students participate in “russefeiring” – it’s a rite of passage into adulthood, a celebration of completing high school, and a farewell to friends departing for university or jobs around the country.

Students gather into groups, give their gang a name, wear matching coloured overalls, rent a big car or a van, and spend late April to mid May (17 May – Norwegian Constitution Day) continuously partying. They call it the “three week binge”. It’s a big fucking deal. 

Skam, with its focus on teens in high school, has therefore spent a lot of time thinking about “russ”. The show, which is set at the exact same time it airs, has followed its four main characters Eva, Noora, Isak and Sana (who each have a season of the show written from their perspective, a la Skins), as well as all their friends, from their first few weeks at school in September 2015. In other words, preparations take years, and we’ve heard a lot about the plans for their russ bus.

In season one, Eva has fallen out with her best friend, and is hurt when she hears she is moving on and has formed a new bus, with new friends, called Pepsi Max.

We meet one of the show’s most prominent characters, Vilde, when we see her trying to get a bus of girls together. The show’s five main girl characters, Eva, Noora, Vilde, Chris and Sana, become friends because of her efforts: they bond during their “bus meetings” and fundraising attempts. They flirt with a group of boys on a bus calling themselves “The Penetrators”.

The latest season follows Sana’s struggles to ensure the bus doesn’t fall apart, and an attempt to join buses with rivals Pepsi Max. The joyful climax of season four comes when they finally buy their own bus and stop social-climbing, naming themselves “Los Losers”. Bus drama is the glue that keeps the show together.

But now, in June 2017, a whole year before the characters graduate, Skam is ending. The architect of the girls’ bus, Vilde, has never had her own season, unlike most of her friends. Many assumed that Vilde would have had her own season during her final year at school. Fans insist the show’s creator Julie Andem planned nine seasons in total, yet Skam is ending after just four.

The news that Skam would stop after season four came during the announcement that Sana, a Muslim member of the “girl squad”, would be the next main character. The show’s intense fandom were delighted by the character choice, but devastated at the news that there would only be one more season. “I can’t accept that this is the last season,” one wrote on Reddit.

“I'm so shocked and sad. It’s honestly just...weird. It doesn’t make sense, and it’s not fair. It’s not fair that we’re not getting a Vilde season. Most importantly, it’s not fair that we’ll never get to see them on their russ, see them graduating, nothing. It seems like such an abrupt decision. It doesn’t serve the storyline at all.”

No one has given a concrete reason about why the show ended prematurely. Ina, who plays Chris, said in an interview that “we all need a break”.

Some fans went into denial, starting petitions to encourage Andem to continue with the show, while rumours abound suggesting it will return. 

Many speculated that the show simply became too popular to continue. “I think that the show would have had six seasons and a Vilde season if the show didn’t become popular outside of Scandinavia,” one wrote. “I think the pressure and the large amount of cringy fans (not saying that some Scandinavian fans aren’t cringy) has made making the show less enjoyable for the actors and creators.”

Andem has stayed mostly quiet on her reasons for ending the show, except for a statement made via her Instagram. She recalls how very early on, during a season one shoot, someone first asked her how long the show would last:

“We were standing in the schoolyard at Nissen High School, a small, low-budget production crew, one photographer, the sound engineer and me. ‘Who knows, but I think we should aim for world domination,’ I said. We all laughed, ‘cause I was obviously joking. None of us understood then how big Skam would turn out to be. This experience has been completely unreal, and a joy to be a part of.”

Skam has been a 24/7 job,” she continues. “We recently decided that we won’t be making a new season this fall. I know many of you out there will be upset and disappointed to hear this, but I’m confident this is the right decision.”

Many fans feel that season four has struggled under the burden of ending the show – and divisions and cracks have appeared in the fandom as a result.

Some feel that Sana’s season has been overshadowed by other characters and plotlines, something that is particularly frustrating for those who were keen to see greater Muslim representation in the show. Of a moment in season four involving Noora, the main character from season two, one fan account wrote, “I LOVE season tw- I mean four. That’s Noora’s season right? No wait, is it Willhell’s season??? What’s a Sana.”

Others feel that the subject of Islam hasn’t been tackled well in this season. Some viewers felt one scene, which sees Sana and her white, non-Muslim friend, Isak, discuss Islamophobia, was whitesplainy. 

One popular translation account, that provides a version of the show with English subtitles, wrote of the scene: “A lot of you guys have been disappointed by the latest clip and you’re not the only ones. We do want to finish this project for the fans but we are disappointed with how this season has gone.” They announced they would be translating less as a result.

The final week of the show has been light on Sana. Instead, each character who never received a full season has had a few minutes devoted to their perspective. These are the other girls from the girl squad, Vilde and Chris, and the boyfriends of each main character: Eva’s ex Jonas, Isak’s boyfriend Even, Eva’s current fling “Penetrator Chris” and Noora’s on-off boyfriend William.

It’s understandable to want to cover key perspectives in the show’s final week, but it can feel teasing – we get a short glimpse into characters' home lives, like Vilde struggling to care for her depressed mother, but the scene ends before we can really get into it. And, of course, it takes precious time away from Sana in the show’s final minutes.

Some were frustrated by the characters focused on. “Penetrator Chris” is a particularly minor character – one fan account wrote of his scene: “This is absolutely irrelevant. 1) It sidelines Sana 2) It asks more questions 3) It doesn’t answer shit. This isn’t even Sana’s season anymore and that’s absolutely disgusting. She didn’t even get closure or ten episodes or anything.

“Sana has been disrespected and disregarded and erased and sidelined and that is fucking gross. She deserved better. Yet here we are watching a Penetrator Chris clip. How ironic that it’s not even called just “Christopher” because that’s all he is. “Penetrator Chris”.

It’s been a dramatic close for a usually warm and tight-knit fan community. Of course, many fans are delighted with the final season: their only sadness is there won’t be more. One of the largest fan accounts tried to keep things positive. “I know people have mixed feelings about Skam and who deserves what in terms of screentime this season (etc),” they wrote, “which I totally understand.

"However, everything has already been filmed, so there is nothing we can do about it. I think this last week of Skam will be much more enjoyable for everyone if we focus on the positives in the clips ahead. Skam isn’t perfect. People are allowed to disagree. But let’s go into this week being grateful for everything Skam has given us.”

Some fans choose to look to what the future holds for the show – an American remake. It will keep the same characters and plotlines as the original, and Andem may be involved.

Few think it will be a patch on the current show, but some are excited to have the chance to watch it teasingly as a group regardless. It seems unlikely that the US remake will compare in terms of quality – not least because the original was so heavily researched and tied to Norwegian culture. But for fans struggling to let go of Skam, it can’t come soon enough.

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

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