“I see this in a sense as a cautionary tale. What my narrator is is a white tiger – he’s unusual for his time. Very few servants in India actually kill their masters and take their money…” Aravind Adiga’s debut novel was recently selected for the Booker long-list, so I thought I’d make available this interview which I did with him earlier this year in London. Click here to listen to the interview.
“The chemistry of this is more than a century old… The basic physics of carbon dioxide and other greenhouse gases has been known for a very long time. In fact some back-of-the-envelope calculations were made then which more or less stand the test of time a century later.” A few weeks back I met Mark Lynas in Oxford to talk about his book, Six Degrees: Our Future on a Hotter Planet, shortly before the book won this year’s Royal Society Science Book Prize. The book looks degree by degree at the consequences for the Earth, its biodiversity and its inhabitants, as average global temperatures continue to rise throughout this century. The book is alarming without being alarmist, sobering without being defeatist. As the Royal Society recognized, the book represents a magnificent achievement on Mark’s part, who sifted through a huge amount of scientific data in order to construct such readable and readily comprehensible scenarios. Average rises in global temperature of up to two degrees have serious consequences; above that, the consequences range from the dramatic …
I recently interviewed Stephen Armstrong for Faber about his new book, War plc. The book takes the reader into the world of the private security companies, which have mushroomed in the last few years to the extent that the military effort in Afghanistan and Iraq would be impossible without them. The development is not accidental. To get a sense of the ideological drive that lies behind the emergence of these private companies on the battlefield, here is an extract from an extraordinary speech (quoted in Stephen’s book) which US defence secretary Donald Rumsfeld gave the day before 9/11: “The topic today is an adversary that poses a threat, a serious threat, to security of the United States of America. This adversary is one of the world’s last bastions of central planning. It governs by dictating 5 year plans. From a single capital it attempts to impose its demands across time zones, continents, oceans and beyond. With brutal consistency it stifles free thought and crushes new ideas. It disrupts the defence of the United States and …
In May I made a number of recordings for this year’s Bristol Festival of Ideas, a series of very popular events which brought some high-powered thinkers to the city to stimulate discussion on subjects as diverse as the legacy of ’68 to why the human brain is not quite ‘fit for purpose’. I’m editing my interviews now for a series of podcasts sponsored by The Philosophers’ Magazine, which will be appearing over the next few months. The first one is downloadable now from iTunes here.
“I’m interested in saying, look, how can you challenge the Asterix-and-the-Romans kind of image that we tend to have of Rome? We are determined to turn a blind eye to Roman subtlety, humour and sophistication because the Romans do a very good job for us of being bridge-builders and thugs. The Greeks are sophisticated guys who go round thinking about the meaning of life, and the Romans conquer people. And those kinds of symbols of difference are terribly convenient for modern culture to use, as you can see if you look at how Rome appears in movies.” I’ve recently been in Cambridge to talk to Professor Mary Beard about her radical re-evaluation of one of ancient Rome’s quintessential rituals – the triumph. There are few images more evocative of ancient Rome than the triumph. It’s one of the favourite set-pieces of countless “sword-and-sandal” epics. To be awarded a triumph was the greatest accolade for a victorious Roman general. He would be drawn through the city’s streets, dressed as a god and surrounded by his raucous …
“It’s a very surreal place… children have grown up with bomb scrap around them. So when they see bomb scrap, they don’t perceive any danger. It’s all around you.The houses are made of bombs. It’s piled up by the side of the roads. It’s part of the fabric of life.” I’ve just completed a first podcast for the English edition of Le Monde Diplomatique, the monthly French paper which now exists in many foreign-language editions and publishes in-depth reports on the political, social and cultural situation around the world. My guest in this first LMD podcast is Angela Robson, who used to work with Amnesty International, and is now a writer and journalist who broadcasts frequently on the BBC. Angela recently visited Laos, the small land-locked country in S.E. Asia, ahead of the Dublin conference to discuss an international cluster-bomb ban. Though few people in the west know much about Laos, it is the country which has suffered the heaviest bombing of any nation on Earth. More than Japan and Germany in the Second World …
“In politics there’s a constant endeavour to expose hypocrisy. Because people don’t like hypocrisy, it’s a very useful weapon to attack an opponent. But the exposure of hypocrisy – the anti-hypocritical movement – doesn’t drive hypocrisy out of politics. It doesn’t even diminish the amount of hypocrisy that there is. If anything it just increases it.” I was in Cambridge last week to interview David Runciman about his new book, Political Hypocrisy, for Princeton University Press. You can listen to the PUP podcast by clicking here (for iTunes) or here (for PUP site). The title of this post is a quote from one of the people David discusses in his book, the eighteenth-century writer, Bernard Mandeville, author of The Fable of the Bees, which was thought by his contemporaries to be one of the wickedest books of his day on account of the cool eye with which its author regards the hypocrisy of his time. According to Mandeville, the difficulty of waiting for politicians to come along who bear not the slightest taint of hypocrisy, …
“In Russian music you have a very different portrayal of Russia [from the one you find in literature], which has very strong rhythms, very festive images. It’s very bright, very colourful, very, very different from the melancholy Russian soul.” Writing of Glinka’s opera A Life for the Tsar after its premiere in 1836, one Russian critic boldly predicted that ‘Europe will be amazed’. Surely Europeans would now want to ‘take advantage of the new ideas developed by our maestro’? Yet this opera, which is regarded as the very foundation of Russian music in its home country, is little known abroad, its composer (the ‘great father of Russian music’) merely another name in the long list of half-neglected nineteenth-century Russian composers. Marina Frolova-Walker, a Russian-born musicologist now based in Cambridge, set out to do something much more ambitious than explain the neglect of certain Russian composers. She wanted to examine the whole notion of ‘Russianness’ in Russian music, a story which starts with Glinka. What did Russianness consist of? How did it come about? What changing …
There was an entertaining piece by Joe Queenan in last Sunday’s NYT about the pleasures of long books (and in particular the three volumes of Austrian novelist Robert Musil’s Man Without Qualities), and the havoc they can wreak on the normal functioning of life (plus their value as a diversionary tactic):
“It’s almost as though my poetry is an extended passport application… It’s an attempt to be naturalized. I think I’ve failed to be naturalized and therefore there is this German residue about things. It’s something I feel haunted by…” I’m delighted that the first poet to appear on Podularity is Michael Hofmann. I’ve known Michael for several years and greatly admire his work as a translator, but his poetry has been a comparatively recent – and very pleasurable – discovery for me. George Szirtes, reviewing Michael’s Selected Poems in the Guardian recently, said of his work: In the programme we talk about Michael’s relationship with the German and English languages and how he moves between the two; his relationship with his late father, the German novelist, Gert Hofmann, which forms the explicit or implicit subject matter of much of his poetry: ‘these two men meet up to divide the world between them and this is how it goes: my father gets prose in German and I get poetry in English, and we each go away …
