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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An Irish Sea border – and 3 other tricky options for Northern Ireland after Brexit

There is no easy option for Northern Ireland after Brexit. 

Deciding on post-Brexit border arrangements between Northern Ireland and the Irish Republic is becoming an issue for which the phrase "the devil is in the detail" could have been coined. Finding a satisfactory solution that delivers a border flexible enough not to damage international trade and commerce and doesn’t undermine the spirit, or the letter, of the Good Friday Agreement settlement is foxing Whitehall’s brightest.

The dial seemed to have settled on David Davis’s suggestion that there could be a "digital border" with security cameras and pre-registered cargo as a preferred alternative to a "hard border" replete with checkpoints and watchtowers.

However the Brexit secretary’s suggestion has been scotched by the new Irish foreign minister, Simon Coveney, who says electronic solutions are "not going to work". Today’s Times quotes him saying that "any barrier or border on the island of Ireland in my view risks undermining a very hard-won peace process" and that there is a need to ensure the "free movement of people and goods and services and livelihoods".

The EU’s chief Brexit negotiator, Michel Barnier, has made dealing with the Irish border question one of his top three priorities before discussions on trade deals can begin. British ministers are going to have to make-up their minds which one of four unpalatable options they are going to choose:

1. Hard border

The first is to ignore Dublin (and just about everybody in Northern Ireland for that matter) and institute a hard border along the 310-mile demarcation between Northern Ireland and the Irish Republic. Given it takes in fields, rivers and forests it’s pretty unenforceable without a Trump-style wall. More practically, it would devastate trade and free movement. Metaphorically, it would be a powerful symbol of division and entirely contrary to the spirit of the Good Friday Agreement. The Police Federation in Northern Ireland has also warned it would make police officers "sitting ducks for terrorists". Moreover, the Irish government will never agree to this course. With the EU in their corner, there is effectively zero chance of this happening.

2. Northern EU-land

The second option is to actually keep Northern Ireland inside the EU: offering it so-called "special status". This would avoid the difficulty of enforcing the border and even accord with the wishes of 56 per cent of the Northern Irish electorate who voted to Remain in the EU. Crucially, it would see Northern Ireland able to retain the £600m a year it currently receives from the EU. This is pushed by Sinn Fein and does have a powerful logic, but it would be a massive embarrassment for the British Government and lead to Scotland (and possibly London?) demanding similar treatment.

3. Natural assets

The third option is that suggested by the Irish government in the Times story today, namely a soft border with customs and passport controls at embarkation points on the island of Ireland, using the Irish Sea as a hard border (or certainly a wet one). This option is in play, if for no other reason than the Irish government is suggesting it. Again, unionists will be unhappy as it requires Britain to treat the island of Ireland as a single entity with border and possibly customs checks at ports and airports. There is a neat administrate logic to it, but it means people travelling from Northern Ireland to "mainland" Britain would need to show their passports, which will enrage unionists as it effectively makes them foreigners.

4. Irish reunification

Unpalatable as that would be for unionists, the fourth option is simply to recognise that Northern Ireland is now utterly anomalous and start a proper conversation about Irish reunification as a means to address the border issue once and for all. This would see both governments acting as persuaders to try and build consent and accelerate trends to reunify the island constitutionally. This would involve twin referendums in both Northern Ireland and the Republic (a measure allowed for in the Good Friday Agreement). Given Philip Hammond is warning that transitional arrangements could last three years, this might occur after Brexit in 2019, perhaps as late as the early 2020s, with interim arrangements in the meantime. Demographic trends pointing to a Catholic-nationalist majority in Northern Ireland would, in all likelihood require a referendum by then anyway. The opportunity here is to make necessity the mother of invention, using Brexit to bring Northern Ireland’s constitutional status to a head and deal decisively with the matter once and for all.

In short, ministers have no easy options, however time is now a factor and they will soon have to draw the line on, well, drawing the line.

Kevin Meagher is a former special adviser at the Northern Ireland Office and author of "A United Ireland: Why unification is inevitable and how it will come about"

Kevin Meagher is associate editor of Labour Uncut and a former special adviser at the Northern Ireland office.