In the Critics section of this week’s New Statesman, our Critic at Large is architect Amanda Levete, recent winner of a competition to design a new gallery for the Victoria & Albert Museum. Reflecting on the three decades since the opening of the Barbican Centre, she notes that brutalism, at times scorned for its bleakness, was then a mark of aesthetic progress: “The architects’ [Chamberlin, Powell and Bon] plans reflected the changing aspirations of a society that had an increasingly complex and optimistic view of the future . . . Their brutalist (from the French béton brut,or ‘raw concrete’) vision was an extreme reaction to the land-hungry, suburban ethos of the 1950s: a deliberate assassination of a semi-detached mentality.” More recently, says Levete, aesthetic opinions of the Barbican have fluctuated: “By 1990 . . . the complex had become unfashionable and unloved. Yet only a few years later, it was rediscovered by the cognoscenti and became popular with architects looking for an inner-city dwelling . . . now, more than half a century after it was conceived, it is truly the vibrant and successful part of the urban landscape that is architects envisaged”.
In Books, Gabriel Josipovici reviews Joseph Roth: A Life in Letters, edited and translated by Michael Hofmann. Josipovici acknowledges Hofmann’s credentials as a Roth scholar, but questions his judgement in selecting his material: “Hofmann has long championed Roth and has translated ten of his works to date. Here, he translates a volume of letters published in Germany in 1970 and adds his own notes, making this a sort of tour of the life in the company of a passionate but biased and idiosyncratic guide. There are no letters to his mother or his lovers and we learn little about his literary tastes or his artistic aims and ambitions”. Ultimately, Josipovici is cynical about Hofmann’s inclusion of Roth in the Teutonic literary canon: “[T]o talk about him [Roth] as one of the great German writers . . . is to do a disservice to Mann, Robert Musil and Brecht”.
In the Books Interview, Jonathan Derbyshire speaks to Cullen Murphy about his latest book God’s Jury: The Inquisition and the Making of the Modern World. Murphy shows how the Catholic Inquisition’s influence remains pervasive in the modern world: “The defining characteristic of the Inquisition was that it had what we think of as modern tools available to it. These include things such as a bureaucratic structure and the ability to collect information, preserve it and then find it again. This kind of ability was relatively new”.
Also in Books: Helen Lewis reviews Faramerz Dabhoiwala’s The Origins of Sex: a History of the First Sexual Revolution. Especially disconcerting, says Lewis, is the blind eye turned by prominent literary figures to sexual depravity: “Samuel Richardson’s treatment of Clarissa Harlowe – whose rape is the central act of perhaps the central text of British 18th-century literature – can be better understood against the context of a society in which women were presumed to enjoy being assaulted.” Other reviews: Alan Ryan on What Are Universities For? by Stefan Collini; Amanda Craig on Various Pets Alive and Dead by Marina Lewycka; and Olivia Laing on The Street Sweeper by Elliot Perlman.
Elsewhere in Critics: Ryan Gilbey on Rampart; Rachel Cooke on Homeland; Thomas Calvocoressi on Piet Mondrian and Ben Nicholson; and Alexandra Coghlan on Classical Music. PLUS: Will Self’s “Madness of Crowds”.