Incoming: Aleksander Hemon, James Salter and Emily Berry at the Southbank Centre

Preview: London Literature Festival.

Aleksandar Hemon

Sophie Elmhirst: Not long ago, I met Aleksandar Hemon for lunch in St Pancras station. We spoke mostly about his new memoir, The Book of My Lives, which recounts chapters of Hemon’s life both sides of its central event, when he left Bosnia as a young man just before the siege of Sarajevo (I reviewed the memoir here). In conversation, Hemon roamed widely – from European football to how to teach creative writing. He was most poignantly open on the subject of the final essay in his book, his daughter Isabel. She died as a baby from a rare form of cancer and if you haven’t read it, Hemon’s account – in "The Aquarium" (originally published in the New Yorker) is an almost impossibly frank account of the trauma of losing his daughter. Aleksander will speak on 25 May. Here are four other events well worth checking out.

James Salter

The 87-year-old has just published his first novel for more than 30 years. All That Is is an elegant journey through the life of one man in Salter’s distinct, sensuous prose. He is often cited as the most unsung of the great American writers of the 20th century, or a writer’s writer (Richard Ford is a devoted admirer). 25 May.

John Burnside

Our very own nature columnist will be speaking about bees (a theme which will recurs across the festival - remember Einstein: "If the bee disappears from the surface of the earth, man would have no more than four years to live") and reading from his poems. 27 May.

Heather Philippson and Emily Berry

Two exciting young poets (Berry’s work has been published in the New Statesman here) will read from their work. 28 May.

Tracey Thorn

The singer, one half of Everything But The Girl, talks about her memoir, Bedsit Disco Queen. A fine writer (read her in the New Statesman here), Thorn’s account is witty and personal. 2 Jun.

The London Literature Festival will run until 8 September at the Southbank Centre. You can read the full programme of events here.

Book talk from the New Statesman culture desk.

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Against the Law: Peter Wildeblood must be one of the bravest men who ever lived

BBC2's historical gay rights film evokes bewilderment, fear and agonising pain.

My head told me that Against the Law (26 July, 9pm), the BBC’s film about Peter Wildeblood, the only openly gay man to give evidence to Lord Wolfenden’s committee, wasn’t up to much. Wildeblood was one of the three men who in 1954 were convicted of buggery in the notorious Montagu case (the others being Lord Montagu of Beaulieu and his cousin Michael Pitt-Rivers) – a trial that led, thanks to unease about the verdict, to the inquiry that resulted in the Wolfenden report, which in 1957 recommended the decriminalisation of homosexuality in Britain.

The film is based on the book Wildeblood published (he was a journalist) after his release from Wormwood Scrubs. Its script, by Brian Fillis, was underpowered and off-puttingly didactic, and I couldn’t understand, at first, the decision to keep interrupting the drama with the spoken-to-camera recollections of a series of elderly gay men. But at some point my heart, which was aching, told my head to shut up. This is… good enough, I thought, watching the film’s last few moments, in which the 89-year-old Roger and the 77-year-old Percy tenderly kissed for the camera. I was mad for Roger. Did he remember Wolfenden? My dear, how could he ever forget it? At the time, he was having an affair with Lord Wolfenden’s son, Jeremy, which certainly added piquancy to the newspaper reports as he read them over breakfast.

If I’d been casting this piece, I might have gone for a floppy-haired Matthew Goode type for Wildeblood, the former public school boy – but that would have been my mistake. It’s hard to imagine a finer performance than the one given by Daniel Mays, an actor who is not even remotely floppy haired.

Here was all of the wit and compassion you find in Wildeblood’s prose, combined with emotions I’d hitherto only been able rather half-heartedly to imagine: bewilderment, fear, agonising pain. As Wildeblood watched his former lover, an RAF corporal called Edward McNally, turn Queen’s evidence during his trial, May’s face grew slack with disbelief. He looked, to me, as if some unknown hand was quietly disembowelling him. By which had he been most betrayed? Love, or the law of the land?

Everyone knows what followed, but it was horrible to see nevertheless. Mailbags were sewn; aversion therapy was discussed (the prison shrink, played with viper-like precision by Mark Gatiss, told Wildeblood he could either receive a series of electric shocks or a drug that would make him vomit for two days). I thought, not for the first time, that Wildeblood must have been one of the bravest men who ever lived – though it’s not as if he wanted for company: the director’s talking heads, silver of hair and soft of jowl, reminded us of this at every turn, and I was glad of the human punctuation they provided. For most of us, this stuff is history. For them, it had been life.

Some people are devoted to newts, and others to hobbits; a few enjoy recreating the battles of the Civil War. The film My Friend Jane (17 July, 7pm) got down and not very dirty with the Austen super-fans, by which I mean not those who have read Sanditon and The Watsons but types who like to dress in full Regency garb and dance to the sound of a spinet come Saturday night. Actually, it’s scarier than this. A former doctor, Joana Starnes, breathlessly described her new career as a writer of “top-tier JAF”. Translated, this means highly superior Jane Austen fan fiction. She’s produced seven JAF novels, which sounds like a lot until you discover that 60 come out every month.

Zack Pinsent, meanwhile, who is 22, makes his living as a period tailor in Hove, where he likes to promenade in fall-front trousers – a flap enables the gentleman thereby to pee – and top hat. I wanted to laugh at him, and all the other empire-line eccentrics in this odd little documentary. But there was something touching about their obsession; at least they didn’t attempt to intellectualise it, unlike those literary fan girls who have lately taken to writing entire books about why their lives would be meaningless without this or that great writer for company. 

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 27 July 2017 issue of the New Statesman, Summer double issue