Reviews round-up

The critics' verdicts on James Salter, George Monbiot and David Goodhart.

All that is by James Salter

All That Is offers an intimate account of the great shocks and grand pleasures of being alive. The critics are divided over whether this is one of James Salter’s (87) best novels yet.

Leo Robson, writing in The New Statesman provides a balanced critique of Salter’s latest tale: “At times you recoil […] from the hard-boiled worldliness and the straitened conception of women and the lordly indifference to movements in the public sphere. But mostly, Salter’s grammar-defiant swooning is the vehicle for a deep seriousness about human sensation and emotion and you give in, happy to be helpless.”

Geoff Dyer of The Independent resolves that Salter has created “a strange masterpiece”. Whilst his writing style can at first seem “a tad awkward”, this awkwardness is to be enjoyed once the reader gives themselves over to his “distinctive rhythms. Mastery, eventually, is an indifference to how things are meant to be done.”

The Guardian’s James Lasdun, on the other hand, believes Salter cannot yet be hailed a “great” writer. “He's a little too loftily impassive and perhaps a little too interested in creating crystalline verbal beauty, to compel the word "great", at least without strong reservations.” Nevertheless he concedes that Salter is “amazingly good.”

Feral: Searching for Enchantment on the Frontiers of Rewilding by George Monbiot

Feral is George Monbiot’s call for us to “rewild” our planet, to “love not man the less, but Nature more.” He passionately explains what environmentalists stand for as oppose to against.

For Sam Leith of The Spectator this peculiar and involving book — three-quarters exhilarating environmental manifesto, one quarter midlife crisis — has an enormous amount to recommend it.” Whilst there is much to digest and reflect upon, there is also “much to be excited by, and the odd bit to giggle at.”

Philip Hoare, writing in The Telegraph, has high praise for Monbiot’s continued displays of wit and irony. “As a passionate polemic, it could not be more rigorously researched, more elegantly delivered, or more timely.” The book’s “what ifs” are verging on “eccentric” but “we need such big thinking for our own sakes and those of our children.”

Frances Stonor Saunders of The Guardian is more witholding of admiration. Monbiot writes in a “gloomy mood, mourning the loss of the improbable bestiary that lies under Nelson's Column, and with it a world that was once rugged and wild and big.” He also fails to address questions on how to “calibrate human demands with the ideology of the wilderness.”

The British Dream: Successes and Failures of Post-War Immigration by David Goodhart

According to David Edgar’s Guardian review Goodheart “seeks to challenge what he sees as leftwing myths about immigration.” Whereas Goodhart argues that the rise of the National Front and other examples of British racism have been widely over-emphasized, Edgar points out the sheer numbers of racially-motivated violence, which beggars Goodhart’s notion of an overly-liberal attitude to immigration.

Jon Cruddas’ New Statesman review supports Goodhart, writing that “by closing down the argument” via knee-jerk accusations of racism “the left allowed the right to shape the tone and language of the immigration debate, particularly in England.”

Ian Thomson appears to split the difference in a review for The Telegraph. He concurs with Edgar about the problematics of Goodhart’s tone and self-identification, but like Cruddas, acknowledges British Dream’s usefulness as a “a useful guide to the vagaries of our mixed-up, mixed-race nation.” And by recounting the story of his immigrant mother, Thomson reifies diversity and adaptation, and attests to a kind of British hybrid vigor.

James Salter has published his sixth novel, aged 87. Photograph: Getty Images.

Book talk from the New Statesman culture desk.

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It’s been 25 years since the Super Nintendo and Sega Mega Drive were released – what’s changed?

Gaming may be a lonelier pusuit now, but there have been positive changes you can console yourselves with too.

Let's not act as if neither of us knows anything about gaming, regardless of how old we are. Surely you'll remember the Super Nintendo console (SNES) and Sega's Mega Drive (or Genesis, if you're an American)? Well, it's now been 25 years since they were released. OK, fine, it's been 25 years since the SNES' debut in Japan, whereas the Mega Drive was released 25 years ago only in Europe, having arrived in Asia and North America a bit earlier, but you get the idea.

Sonic the Hedgehog by Sega

It's amazing to think a quarter of a century has passed since these digital delights were unveiled for purchase, and both corporate heavyweights were ready for battle. Sega jumped into the new era by bundling Sonic, their prized blue mascot and Nintendo retaliated by including a Mario title with their console.

Today's equivalent console battle involves (primarily) Sony and Microsoft, trying to entice customers with similar titles and features unique to either the PlayStation 4 (PS4) or Xbox One. However, Nintendo was trying to focus on younger gamers, or rather family-friendly audiences (and still does) thanks to the endless worlds provided by Super Mario World, while Sega marketed its device to older audiences with popular action titles such as Shinobi and Altered Beast.

Donkey Kong Country by Rare

But there was one thing the Mega Drive had going for it that made it my favourite console ever: speed. The original Sonic the Hedgehog was blazingly fast compared to anything I had ever seen before, and the sunny background music helped calm any nerves and the urge to speed through the game without care. The alternative offered by the SNES included better visuals. Just look at the 3D characters and scenery in Donkey Kong Country. No wonder it ended up becoming the second best-selling game for the console.

Street Fighter II by Capcom

The contest between Sega and Nintendo was rough, but Nintendo ultimately came out ahead thanks to significant titles released later, demonstrated no better than Capcom's classic fighting game Street Fighter II. Here was a game flooding arcade floors across the world, allowing friends to play together against each other.

The frantic sights and sounds of the 16-bit era of gaming completely changed many people's lives, including my own, and the industry as a whole. My siblings and I still fondly remember our parents buying different consoles (thankfully we were saved from owning a Dreamcast or Saturn). Whether it was the built-in version of Sonic on the Master System or the pain-in-the-ass difficult Black Belt, My Hero or Asterix titles, our eyes were glued to the screen more than the way Live & Kicking was able to manage every Saturday morning.

The Sims 4 by Maxis

Today's console games are hyper-realistic, either in serious ways such as the over-the-top fatalities in modern Mortal Kombat games or through comedy in having to monitor character urine levels in The Sims 4. This forgotten generation of 90s gaming provided enough visual cues to help players comprehend what was happening to allow a new world to be created in our minds, like a good graphic novel.

I'm not at all saying gaming has become better or worse, but it is different. While advantages have been gained over the years, such as the time I was asked if I was gay by a child during a Halo 3 battle online, there are very few chances to bond with someone over what's glaring from the same TV screen other than during "Netflix and chill".

Wipeout Pure by Sony

This is where the classics of previous eras win for emotional value over today's blockbuster games. Working with my brother to complete Streets of Rage, Two Crude Dudes or even the first Halo was a draining, adventurous journey, with all the ups and downs of a Hollywood epic. I was just as enthralled watching him navigate away from the baddies, pushing Mario to higher and higher platforms in Super Mario Land on the SNES just before breaking the fast.

It's no surprise YouTube's Let's Play culture is so popular. Solo experiences such as Ico and Wipeout Pure can be mind-bending journeys too, into environments that films could not even remotely compete with.

But here’s the thing: it was a big social occasion playing with friends in the same room. Now, even the latest Halo game assumes you no longer want physical contact with your chums, restricting you to playing the game with them without being in their company.

Halo: Combat Evolved by Bungie

This is odd, given I only ever played the original title, like many other, as part of an effective duo. Somehow these sorts of games have become simultaneously lonely and social. Unless one of you decides to carry out the logistical nightmare of hooking up a second TV and console next to the one already in your living room.

This is why handhelds such as the Gameboy and PSP were so popular, forcing you to move your backside to strengthen your friendship. That was the whole point of the end-of-year "games days" in primary school, after all.

Mario Kart 8 by Nintendo

The industry can learn one or two things by seeing what made certain titles successful. It's why the Wii U – despite its poor sales performance compared with the PS4 – is an excellent party console, allowing you to blame a friend for your pitfalls in the latest Donkey Kong game. Or you can taunt them no end in Mario Kart 8, the console's best-selling game, which is ironic given its crucial local multiplayer feature, making you suspect there would be fewer physical copies in the wild.

In the same way social media makes it seem like you have loads of friends until you try to recall the last time you saw them, gaming has undergone tremendous change through the advent of the internet. But the best games are always the ones you remember playing with someone by your side.