2012 in review: The New Statesman on... the arts

From Michael Jackson to Martin Amis: the best NS writing on the arts.

Welcome to the sixth instalment of the New Statesman's 12 days of Blog-mas. (Yesterday's round up, of our best interviews, is here).

This summer, the Cultural Olympiad showed off British art to the world, but as autumn arrived the cuts to art programmes made in the spring started to show. Here are some of our best reviews - click the headlines to open them in a new window:

The wizardry of The xx

"It’s as close to magic as you’ll get in Shepherd’s Bush". Sophie Emhirst reviews that rare thing: a shy band.

This gig is a lesson in how you put on a show if you don’t like prancing about on stage or chatting to your fans. You need three things: smoke, lights, a surprise object. The smoke comes first, pumped and billowing long before the trio come out on stage. It all makes sense once the lights go down and a spotlight, swirled with clouds, falls on Romy singing “Angels”. But the lights have their own show to do, building as the bass gets thicker. These aren’t spotlights, or disco swoopers, or strobes, or circling glitter balls. These are lights as walls: wave after wave sweeping over the audience and then twisting back to decapitate the band, their heads in pitch black, bodies illuminated. They keep coming too, these lights, so just when you think the ship has steadied, there they are in different forms – as a fan from ceiling to floor, vertical, a slatted gate of light slicing through the crowd and then as a thumping glare, flashes of full white in time with the beat, so you get moments of screaming brightness followed by black again.

Read all about it: NS Books of the Year 2012

The New Statesman’s friends and contributors choose their favourite books of 2012. Here's AS Byatt's:

Jenny Uglow’s The Pinecone (Faber & Faber, £20) is about the language of carving, objects containing ideas. It is the story of Sarah Losh, a north country heiress in the early 19th century, forceful, learned, independent, who built a church full of fascinating images. The tale is mysterious because Uglow worked with almost no manuscript remains and scrupulously invented nothing. She has turned this central silence into a kind of force by describing stones, glass, things constructed, so precisely that they become not exactly alive but strangely present on the page. Their world – business, weather, politics, poets, marriages, deaths – becomes a revenant around them. I don’t know another book that feels quite like this one.

Review: Sweet Revenge - the Intimate Life of Simon Cowell

Sophie Elmhirst reviews Simon Cowell's biography. She finds it a rocky read.

Bower depicts a young man burning with desperation, reliant on his father for cash bailouts, a figure of industry-wide mockery. (He is perfectly described by a music producer in the 1980s as “not credible. He looked like he was in charge of Easter eggs.”) Eventually, he has a genuine hit (if that’s a fair description of Westlife) and it’s not long before the TV version of Cowell is launched and the money rolls in.

Is "Portrait of a Lady" by Henry James a great American novel?

Sarah Churchwell writes a portrait of the novel.

Henry James once defined criticism as the mind “reaching out for the reasons of its interest”, a process that he deemed “the very education of our imaginative life”. Michael Gorra doesn’t include this quotation in Portrait of a Novel but it is an apt description of the book he has written about James’s The Portrait of a Lady (1881).

George Osborne: the Austerity Chancellor - review

Jason Cowley finds a biographer with an over-developed vocabulary.

Among other irritations, Ganesh has an alarming fondness for the ostentatious or redundant adverb: Britain has a “haughtily opaque state”; Norman Lamont was “elegantly caustic”; Archie Norman, the businessman and former Tory MP, is “sublimely able”; Andy Coulson, the disgraced former News of the World editor-turned-Tory spinner, is “sublimely able”; Alan Clark, the Conservative diarist and libertine, is “famously fleshly”; the civil servant Nicholas Macpherson is “languidly brilliant”; Boris Johnson is “chaotically charismatic”; the Institute for Fiscal Studies is “unimpeachably pukka”; City financiers on their way to work are the “impossibly multinational hordes scurrying from Bank or Moorgate . . . each morning”; Oliver Letwin is “almost uniquely unsuited to practical politics”. Can something be “almost” unique?

Amis and Larkin: Hate in a cold climate

Kingsley Amis’s novel Lucky Jim has its origins in his intense and competitive friendship with Philip Larkin, writes Keith Gessen.

Both young men spent a good portion of their time at Oxford abusing the literature they were supposed to study. “I can just about stand learning the filthy lingo it’s written in,” Larkin wrote to Amis about Old English poetry. “What gets me down is being expected to admire the bloody stuff.” They invented a game called “horsepissing,” in which they’d replace words from classic literary texts with obscenities –“I have gathered up six slender basketfuls OF HORSEPISS,” for example – which they’d write in their own and each other’s copies of famous books. It was a game they never tired of or, indeed, outgrew.

Michael Jackson: The boy in the bubble

Released 30 years ago, Michael Jackson’s album Thriller was the beginning of his assault on the white pop world. Here's Kate Mossman.

No one knew quite what to say when Jacko died in 2009 at the age of 50. Some said they “saw that coming”, which is also what they said about Whitney Houston and Amy Winehouse. It seemed disingenuous – if anything, all three had been conveniently, temporarily forgotten like the mad woman in the attic. Perhaps the world is now ready to accept, all over again, that Jackson was the greatest pop star who ever lived. He broke the race barrier, redefined the pop video and forged a sound so pervasive that it can be heard in the songs of Justin Bieber, Rihanna, Nicky Minaj and a whole host of twenty somethings who were not even born during his glory years. Which brings us back to that kid in front of the TV. The record that achieved all these things was Thriller.

Playing God

Ryan Gilbey on divine presences in the movies.

There have been surprisingly few filmmakers (and actors) willing to put the deity into tangible form on screen. Probably my favourite example is from television. In the “Batteries” episodes from The Sarah Silverman Program, Silverman has a one-night stand with God (Tucker Smallwood). To her chagrin, He’s still there in the morning—and He’s clingy. (Later she uses Him for her own ends when she wants to show up at her high-school reunion and trump her former classmates with her impressive new boyfriend. Perhaps the nicest touch is His little “GOD” nametag.)

Josh Osho: A portrait of the artist in a digital age

"People just want to connect. If I put my heart in it and people connect that’s the most important thing." Alan White on Josh Osho.

There’s a part of yourself that’s omnipotent. That’s the creative moment – you start with something tangible, then you’re almost like a God for a moment, and then you step back, and you’re human again. At that point, you can analyse it and break it down. And quite often I read back something I wrote and don’t understand where it came from. There are all these layers you never saw. It’s like Amy Winehouse – she always starts with something tangible – little conversations, or moments, raises them to the level of art, and then in the ears of her listeners, it becomes something different again.

The 100 most iconic artworks from the last five years

Art website ARTINFO has released a list of the “100 Most Iconic Artworks From the Last 5 Years”. Charlotte Simmonds digests it.

Feminist punk group/performance artists - and recent cause-célèbre - Pussy Riot’s most famous performance saw them perform on the alter at Christ the Savior Cathedral in Moscow - then landed them in jail.

Simon Cowell was once "a young man burning with desperation". Photograph: Getty Images
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Leader: Mourning in Manchester

Yet another attack shows we are going to have to get to used to the idea that our liberalism and our freedoms can only be preserved by a strong state.

Children are murdered and maimed by a suicide bomber as they are leaving a pop concert in Manchester. As a consequence, the government raises the terror threat to “critical”, which implies that another attack is imminent, and the army is sent out on to the streets of our cities in an attempt to reassure and encourage all good citizens to carry on as normal. The general election campaign is suspended. Islamic State gleefully denounces the murdered and wounded as “crusaders” and “polytheists”.

Meanwhile, the usual questions are asked, as they are after each new Islamist terrorist atrocity. Why do they hate us so much? Have they no conscience or pity or sense of fellow feeling? We hear, too, the same platitudes: there is more that unites us than divides us, and so on. And so we wait for the next attack on innocent civilians, the next assault on the free and open society, the next demonstration that Islamism is the world’s most malignant and dangerous ideology.

The truth of the matter is that the Manchester suicide bomber, Salman Ramadan Abedi, was born and educated in Britain. He was 22 when he chose to end his own life. He had grown up among us: indeed, like the London bombers of 7 July 2005, you could call him, however reluctantly, one of us. The son of Libyan refugees, he supported Manchester United, studied business management at Salford University and worshipped at Didsbury Mosque. Yet he hated this country and its people so viscerally that he was prepared to blow himself up in an attempt to murder and wound as many of his fellow citizens as possible.

The Manchester massacre was an act of nihilism by a wicked man. It was also sadly inevitable. “The bomb was,” writes the Mancunian cultural commentator Stuart Maconie on page 26, “as far as we can guess, an attack on the fans of a young American woman and entertainer, on the frivolousness and foolishness and fun of young girlhood, on lipstick and dressing up and dancing, on ‘boyfs’ and ‘bezzies’ and all the other freedoms that so enrage the fanatics and contradict their idiot dogmas. Hatred of women is a smouldering core of their wider, deeper loathing for us. But to single out children feels like a new low of wickedness.”

We understand the geopolitical context for the atrocity. IS is under assault and in retreat in its former strongholds of Mosul and Raqqa. Instead of urging recruits to migrate to the “caliphate”, IS has been urging its sympathisers and operatives in Europe to carry out attacks in their countries of residence. As our contributing writer and terrorism expert, Shiraz Maher, explains on page 22, these attacks are considered to be acts of revenge by the foot soldiers and fellow-travellers of the caliphate. There have been Western interventions in Muslim lands and so, in their view, all civilians in Western countries are legitimate targets for retaliatory violence.

An ever-present threat of terrorism is the new reality of our lives in Europe. If these zealots can murder children at an Ariana Grande concert in Manchester, there is no action that they would not consider unconscionable. And in this country there are many thousands – perhaps even tens of thousands – who are in thrall to Islamist ideology. “Terror makes the new future possible,” the American Don DeLillo wrote in his novel Mao II, long before the al-Qaeda attacks of 11 September 2001. The main work of terrorists “involves mid-air explosions and crumbled buildings. This is the new tragic narrative.”

Immediately after the Paris attacks in November 2015, John Gray reminded us in these pages of how “peaceful coexistence is not the default condition of modern humankind”. We are going to have to get used to the idea that our liberalism and our freedoms can only be preserved by a strong state. “The progressive narrative in which freedom is advancing throughout the world has left liberal societies unaware of their fragility,” John Gray wrote. Liberals may not like it, but a strong state is the precondition of any civilised social order. Certain cherished freedoms may have to be compromised. This is the new tragic narrative.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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