Actually, they liked it. Galbraith's Cormoran Strike thriller could mark the start of another intensely successful Rowling series.
It's the age-old rivalry that makes matches like this weekend's Test so thrilling to watch.
Tom Humberstone's weekly observational column for the New Statesman.
"Robert Galbraith" was critically acclaimed, but it takes Rowling to be commercially successful.
The musician is not a fan of the Daily Mail, it seems.
A man, a band, a record label. Rob Pollard talks to Woods' Jeremy Earl.
Think it's impossible to write poetry about video games? Wrong! A selection of poems by Kirsten Irving and Jon Stone.
The renowned sculptor's new work, an aluminium procession of twists and somersaults, is currently being installed at Heathrow's new Terminal 2 building. Last week the aerobatics pilot Paul Bonhomme attempted to illustrate its curves above an airfield in E
Director Guillermo del Toro has spoken with open passion about this ludicrous, ludicrous film. In fact, he's right: it's pretty good.
Winner of the 2013 Caine Prize for African writing and four nominees all hail from Nigeria.
The characterisation of Joel in <em>The Last of Us</em> marks a change in how video games view masculinity - the game doesn't champion archetypal maleness, it shows it for what it is: selfish and meat-headed.
Why don’t you just enjoy the fantasy? Games are a special medium, completely separate from our wider culture and any attempt to put them in context is just insulting.
Tom Humberstone's weekly observational comic for the New Statesman.
Suzie McCracken feels like her vocal chords are haunted by the booming projections of past politicians and preachers. Surely now it's time to stop being an incessant apologist and be proud of our vowels?
With the Aldeburgh Festival's production of Peter Grimes on the Beach, director Tim Albery has created a site-specific opera that avoids cliché to provide an allusive blur of fact and fiction.
The critics' verdicts on Jimmy Connors, Jonathan Sperber and Sarah Churchwell.
2013 was an easy one for festival programmers. Wagner, Verdi and Britten all have major anniversaries this year. But doesn't organising a festival around something as arbitrary as a composer's birthday undermine the fundamental value of the work?
Alexandra Coghlan assesses the English National Opera's production of <em>The Perfect American</em> and Grange Park Opera's <em>Eugene Onegin.</em>
Alexandra Coghlan explores two very different productions that share a certain whimsical aesthetic: <em>The Importance of Being Earnest</em> and <em>Gloriana</em>.
If anything, it was putting off the difficult decisions still further.
The critics' verdicts on George Packer, Melanie Phillips and Neil Gaiman.
A new exhibition captures the trauma of those forced to flee to survive.
On how I went to a all-female comedy night raising funds for women's charities - and it was awkward, but needn't have been.
Race in <em>Animal Crossing: New Leaf</em>.
On listening to the Scottish duo's new album "Tomorrow's Harvest".
"The movie event of the year".
The critics' verdicts on Rachel Kushner, Iain Banks and Sylvain Tesson.
Asunder communicates its ideas, and their supporting cultural references, subtly and efficiently.
All thirteen judges on this year's Greenaway and Carnegie Medal panel are women. Last year there was only one man. Although there are plenty of men writing and illustrating picture books, the gatekeepers in the world of picture books are overwhelmingly fe