The Signal and the Noise by Nate Silver
Ever since Nate Silver induced global jaw-dropping when he correctly predicted 50 out of 50 states for the US election last week, his revered status in the field of psephology has been guaranteed. With his new book, however, his ranking on the bestsellers chart will surely rest on another question – can he make statistics sexy?
Just about so, according to Bryan Appleyard in the Sunday Times , "'Fascinating' is perhaps not a word you associate with statistics," he begins. "Well, get used to it." This "fat and fascinating book" succeeds in its aim of explaining a niche subject lucidly to a broad audience. Sophisticated mathematical models may not be the stuff of great literature, but Appleyard insitsts that Silver’s book is "full of satisfying facts", and "a useful attempt to explain a complicated and dynamic field".
If the reader is expecting a detective-style work in the genre of Freakonomics, or a "classic underdog tale" like Moneyball, however, The Signal and the Noise may dissapoint, warns Noam Scheiber writing in the New York Times . "This one isn’t so much about his [Silver's] rise to statistical godliness, though it includes a smidgen of back story. It’s largely about evaluating predictions in a variety of fields, from finance to weather to epidemiology." Silver’s book, he goes on, "is more like an engagingly written user’s manual, with forays into topics like dynamic nonlinear systems". Ruth Scurr, reviewing for the Guardian  agrees that the book is, in essence, "a lucid explanation of how to think probabilistically", rather than a populist work.
Still, these are the only criticism in what is otherwise a sea of praise, and you can see why. The recent election success has donated an awe of the modern-day oracle to Silver, and its no surprise he’s captured the public imagination. As Schieber notes, it’s as if there’s "no question he couldn’t answer with a big enough spreadsheet".
Dear Life by Alice Munro
The literary world has long been lacking a high enough hyperbole for Alice Munro. Can this – her latest collection of stories, published as the writer just turned 81 - maintain that same inimitable standard? Carrie Synder, writing for the Canadian National Post , doesn’t beat about the bush; “These stories are perfect. Of course they are”.
All the critics are unanimous that Dear Life, offers exactly what we would expect from Munro, and we’ve come to expect nothing less than linguistic and structural flawlessness. Each aspects of a Munro story are there, her characters are ‘bare and true’ according to Anne Enright in the Guardian . Her prose is "piercingly clear'"and "brisk - moving" notes Peter Kemp in the Sunday Times . But most pressingly, what we reputedly turn to Munro for is her devastating emotional resonance, and once again, Dear Life doesn’t disappoint; "You can't get away from people, in these stories. Even the ones you thought had wandered off show up again, if only to be avoided, if only as a voice in the next room".
In fact, critics have started to take it to so far for granted that a Munro collection will deliver the goods that much of the reviews are concerned not with weighing up her quality, but with deconstructing her literary techniques so as to explore exactly how she achieves her effects. Kemp delves into the mechanics of her technique, noting that "a perfectly chosen word crisps up a phrase" and "points of view are switched at just the right moment not only to prolong suspense but to deepen complication", whilst Synder examines how "even at the sentence level, she constructs fascinating conflict and unexpected oppositions".
The fact of Munro entering her octogenariancy with this collection has lead to speculation on how her writing style has altered, if at all, with age. "The timelines in her stories have become longer, and the sense of fatedness has stretched to match," notes Enright, although the general consensus is that age hasn't affected the writer other than to make her even - if that's possible - better.
Not one of the critics has a complaint of the collection, other than the minor note that Munro has chosen a new approach with the final four works, writing autobiographically in pieces that she herself concedes are "not quite stories". "Though I count myself as one of the people most interested in this writer on planet Earth, I find, to my surprise that they do not hold me in the same way – it is Munro's stories that I want; not her, after all" notes Enright of these works.
Look out for the review of Dear Life in the next issue of the New Statesman.
BAN THIS FILTH! Letter from the Mary Whitehouse Archive edited by Ben Thompson
Mary Whitehouse is, in many ways, the dream subject for a new biography. On the one hand, her entire character was something of "a gift to the satirist", and secondly, her persistent complaints at the moral demise of the BBC are oddly prophetic, given that the Newsnight omnishambles saga continues to dominate headlines this week. Critics of Ben Thompson’s book universally praise the poignant insights it lends into the very current question of morality and the media, "a fascinating book" amounting to "a net-curtain-twitching cultural history" says William Cook in this week’s New Statesman. 
Cook notes that Thompson made a positive decision to veer away from the structural hallmarks of biography, “rather than writing a standard biography…Ben Thompson has hit upon the bright idea of annotating the letters...from her extensive archive”.
The highlight of the book, critics agree, is its humour. Cook is impressed by the ‘good jokes’, whilst Dominic Sandbrook in the Sunday Times  goes further, citing a "hilarious book" with "comic gems on almost every page".
Critics are similarly united at Thompson’s decision to respectfully portray Whitehouse as an intelligent woman with strong logic behind her actions, rather than ridiculing her endlessly. "To his credit, the author resists the temptation to sneer too much at Whitehouse," notes Sandbrook, whilst Andew Anthony, writing in the Guardian elaborates "he respects Whitehouse as a cultural phenomenon but is also archly drawn to her value as a social joke".
Martin Fletcher in the Independent  goes on to conclude, "Ben Thompson's witty and engaging commentary is admirably even-handed: 'we complained about her when she was alive, we sort of miss her now she's gone.'"