Flowers in a jam jar
In April 1961 Ernest Hemingway would distil, in almost oracular terms, the nature of the writing act as a way of capturing the world, as a way of relating to life, but also as a way of confronting the inexorable absence at the heart of much of existence: “In writing, there are many secrets. Nothing...
Stilted life
Our times belong, in many ways, in an eerie brotherhood with moments in human history from almost half a millennium earlier: in our audacity, curiosity, enterprise, demographic explosion and multi-ethnic convergence, in the vibrancy (dark or light) of our questioning of what it means to be human, to belong to society, to progress and to...
The malediction of Minerva
The story of the passionate last affair in Lord Byron’s life, a culminating point for many of his erratic, errant motion through truth and illusion, has always held a particular fascination for scholars; it has caused vocal perplexity to his admirers and deep-felt sighs of ‘if only’ to the many women (and men) who loved...
Where unhappiness ends: Naples beyond Ferrante
You know you are in Naples when the taxi taking you to the city centre from the tiny local airport seems to be driven by a perfectly amiable madman, dead set on breaking your neck (and his) as he hurtle-bumps his vehicle down the almost vertical, serpentine ribbons that are many of the city streets....
In the shadow of Vesuvius
My starting point for Hell’s Gate was a desire to tell a story about an actual descent to the underworld, a person venturing into the kingdom of the dead to find someone. Could today’s readers still believe in such a thing, I wondered, and was their thirst for the epic and mysterious strong enough to...
Seduced by utopia
“Now do tell me – what does it feel like to wake in the morning on a Tuscan farm?” Virginia Woolf asked a much younger Iris Origo in 1935. Invited to stay for tea at the Tavistock Square flat above the Hogarth Press, Origo, we may assume, obliged with a beautifully eloquent answer – after...
A total portrait of the artist as an absence
Elena Ferrante is traditional in the most radical, boundary-dissolving ways; conventional with subversive fervour and delicately powerful talent. In Frantumaglia: A Writer’s Journey she proves above all the invincible strength of her authorial translucence, the rock-solid presence of her so-called anonymity, which she invariably corrects as being a determined gesture of absence. The word frantumaglia,...