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Category: books

THE NOTEBOOK, Roland Allen

A long and fast tour of the history of the notebook. Very friendly and smooth writing, taking you from the Roman wax tablets called “handhelds” all the way through to today’s bullet journals and morning pages.

So fast, in fact, that I wish it’d lingered on a few more things. But I can’t begrudge him the time spent on Florentine accountancy, because it turns out it’s the key to everything in the notebook world.

Over six thousand leaves (which is to say, thirteen thousand pages) survive, and experts estimate that this represents about a quarter of the original total. This implies that Leonardo da Vinci filled his notebooks at the rate of about a thousand pages a year.

Leonardo, like a Florentine bookkeeper, kept different formats of notebook for different purposes. They vary enormously, from big, formal folios to the little pocket books which he kept on his belt, ready for whatever thought or observation sprang to mind.

Leonardo was externalising, putting his thoughts down on paper the better to manipulate them.

Shakespeare, Frida Kahlo, Johnathan Swift, Brian Eno, Bartok and a thousand others are all in here. Parchments, wax, codexes, table-books (almanac tables printed in the front, then a dozen pages coated in gesso and glue so you could wipe them clean), holster books, Moleskines, radioactive diaries:

Physicists and mathematicians pore through Newton’s and Einstein’s notebooks, identifying moments of crucial insight. They would love to browse Marie Curie’s lab notebooks too, but proximity to her experiments left them irradiated.

It’s a huge and fascinating book, and it’s given me a lot to think about despite its necessarily shallow passes on things I’d like more details on. which just spurs me to discover and read deeper on those things, which isn’t bad, right? I can see why everyone was raving about this book. It’s a great achievement and a great tool for thought.

Multiple studies have found that students who take lecture notes on laptops don’t learn as well as those who write with pen and paper. This is partly due to the distracting temptations offered by the internet, and partly because typing encourages verbatim note-taking, rather than paraphrasing, summarising and concept mapping, which are much more effective ways at encoding new information in the memory.

The physical labour seems to play a part, as we encode memories better when muscular effort is involved. So do the tactile, sensory qualities of the paper itself, and the fact that a note on a page has a fixed location, while a note on a screen scrolls away or vanishes altogether.

THE NOTEBOOK, Roland Allen (UK) (US+)

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READING ROBBE-GRILLET, Fred Skolnik

He cannot know anything about Mathias beyond what is recorded in the novel, as Mathias does not exist outside its pages.

This is a nice little book about the work and methods of Alain Robbe-Grillet that appears to have disappeared from the world since I first picked it up. This was a re-read for me – I think I first read it around 2015. It’s vanished from the publisher page, it’s not available on Amazon, and seems to be archived (or perhaps just a version of it) in bare text on this unreadable web page. It’s so weird to see something vanish entirely – hell, vanishing almost entirely from the record. And it’s a useful book, too!

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WAR, Bob Woodward

President Trump had secretly sent Putin a bunch of Abbott Point of Care Covid test machines for his personal use as the virus spread rapidly through Russia. “Please don’t tell anybody you sent these to me,” Putin said to Trump. “I don’t care,” Trump replied. “Fine.” “No, no,” Putin said. “I don’t want you to tell anybody because people will get mad at you, not me. They don’t care about me.”

It is, in many ways, an unusual Woodward book to me. It’s the story of a small group of people doing the very best they can for everybody. It’s the story of people trying really hard. The villains of the piece are not front and centre. Woodward is writing about Trump, yes, but he’s mostly writing about Biden and his closest team members, from the standpoint that they were really doing their best to stop everything falling apart. In Woodward’s own words, “a real-time, inside-the-room look at genuine good faith efforts by the president and his core national security team to wield the levers of executive power responsibly and in the national interest.” The bad guys are largely off-stage. Woodward is trying to write about good guys.

President George W. Bush, who had ordered the invasion of Iraq in 2003, in part because the CIA had said the intelligence that Iraq had weapons of mass destruction was a “slam dunk,” sympathized with Biden’s Afghanistan fiasco. During a phone call after the Afghanistan withdrawal, Bush said to Biden, “Oh boy, I can understand what you’re going through. I got fucked by my intel people, too.”

The book covers the period in Biden’s presidency when Afghanistan, Ukraine and Israel/Gaza all happened pretty much at once.

“When the door was closed in the Oval Office,” Kellogg said, “we’d sit there, and the term I’d use is a BOGSAT which is a bunch of guys sitting at a table bullshitting.”

It’s a reminder that Biden at his peak was a formidable political operator, which a lot of people tended to either forget or dismiss. He was an unusually effective vice president in many ways, precisely because he was written off as a confused and gaffe-prone old man and he and Obama could use that to throw people off or test policies. I personally wonder how many of his outer staff and his party never got that, and simply stopped supporting him when he needed help the most.

On the campaign trail, Biden had gone after Trump’s character and policies relentlessly. From his first day in the White House, Biden barely mentioned Trump’s name, referring to him in public as “my predecessor” and often in private as “that fucking asshole.”

The book goes into granular detail about Ukraine and Israel/Gaza, and taught me a great many things. It could have all gone a lot worse. But it’s bad enough, and it’s not going to get better any time soon. A clever, interesting and sad book.

MBS said he still wanted to enrich the uranium in Saudi Arabia to diversify his energy sector to include nuclear power. “Well, that’s going to be hard to do because people are afraid you’ll create a bomb,” Graham said. “I don’t need uranium to make a bomb,” MBS said. “I’ll just buy one from Pakistan.”

WAR, Bob Woodward (UK) (US+)

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BARTHES A VERY SHORT INTRODUCTION, Jonathan Culler

For the true writer, he had once declared, to write is an intransitive verb: one does not write something, one simply writes.

This is a great little book. I’ve come out of it with what feels like a solid, not uncritical overview of Roland Barthes, which makes up a little for so little of his catalogue being available in English or Kindle. I also feel better equipped to continue with WRITING DEGREE ZERO.

“Reactive formations: a Doxa (a popular opinion) is posited, intolerable; to free myself from it, I postulate a paradox; then this paradox turns bad, becomes a new concretion, itself becomes a new Doxa, and I must seek further for a new paradox.”

One thing I enjoy about Barthes is that he makes hard, clear statements while still giving the impression that he’s looking over the statement’s shoulder to see if there’s a newer and more attractive one somewhere behind it. He’s always on the move, never dogmatic, playing around and having fun with words. Semiotics, structuralism, post-structuralism, the death of the author and the return of pleasure: it’s all just play for Barthes.

‘Neither culture nor its destruction is erotic,’ Barthes writes, ‘it is the gap between them that becomes so . . . it is not violence that impresses pleasure; destruction does not interest it; what it desires is the site of a loss, a seam, a cut, a deflation, the dissolve that seizes the reader at the moment of ecstasy’ (p. 15/7). A naked body is less erotic than the spot ‘where the garment leaves gaps’

Similarly, this book can’t help but be great fun, even when the author occasionally feels the need to scowl or hold his nose. Which in itself adds to the entertainment.

BARTHES (A VERY SHORT INTRODUCTION) (UK) (US+)

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OPEN CITY, Teju Cole

…not wishing to be alone with the image of Death hovering in the room with its cheap suit and bad manners…

I started OPEN CITY a few years ago, and picked it up again recently, just because it was there and open. It is a series of journeys undertaken by a performatively melancholy psychiatrist-in-training, Julius. Much about Julius is performative. His narration is filled to the gunnels with gathered and displayed knowledge of history and the arts. His assuming of emotions began to read to me like quickly donned shirts from a costume box, the occasion for each intelligently guessed at.

Riemenschneider, Stoss, Leinberger, and Erhat brought a complicated material knowledge of lindenwood to bear on their carving of it, and their attempts to marry the spirit of the material with its visible form, craftlike though it is, is after all not so different from the diagnostic struggle that doctors are engaged in. This is particularly true in the case of those of us who are psychiatrists, who attempt to use external Signs as clues to internal realities, even when the relationship between the two is not at all clear. So modest is our success at this task that it is easy to believe our branch of medicine is as primitive now as was surgery in Paracelsus’s time.

Having recalled the film ROME, OPEN CITY, I decided to look up the strict definition of the term “open city.”

In war, an open city is a settlement which has announced it has abandoned all defensive efforts, generally in the event of the imminent capture of the city to avoid destruction. Once a city has declared itself open, the opposing military will be expected under international law to peacefully occupy the city rather than destroy it. According to Protocol I of the Geneva Conventions, it is forbidden for the attacking party to “attack, by any means whatsoever, non-defended localities”.[1] The intent is to protect the city’s civilians and cultural landmarks from a battle which may be futile.

Attacking forces do not always respect the declaration of an open city.

The enemy, perhaps, is already through the gates, and the city has no defense.

I’m sure this would baffle and horrify Cole, but, after a while, my closest referent to this largely New York-based novel was AMERICAN PSYCHO.

Each person must, on some level, take himself as the calIbration point for normalcy, must assume that the room of his own mind is not, cannot be, entirely opaque to him. Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories.

The prose is beautiful, easy and riverine. It is concerned with identities, and also that 2010-ish point where Western life began its slide from the physical world to the flat screen. Julius haunts bookshops and record shops in their closing days like a serial visitor to terminal wards, and seeks out the experiential to ground himself. But those experiences are performative, and tend only to excite in him his cold oceans of book knowledge.

Julius is a sociopath, and when his original sin is thrown in his face he goes to see a concert, alone (in several ways.) After the concert, he finds himself locked out of the theatre:

My hands held metal, my eyes starlight, and it was as though I had come so close to something that it had fallen out of focus, or fallen so far away from it that it had faded away.

He goes to see the Statue Of Liberty and recites to himself his gathered knowledge about it, which centres around death.

It’s a fantastically written book, and I suspect I have taken away little from it that the author intended. Perhaps it was really a meditation on the flaneur, on the immigrant experience, on identity and psychology and history? But Julius chills me somehow, and, by the end of the book, I can’t help but suspect Teju Cole agrees with me a little bit.

OPEN CITY, Teju Cole (UK) (US+)

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THE BOOKSELLER, Tim Sullivan

‘Do you want me to arrest you?’ Carson sputtered with as much dignity as he could muster, which wasn’t much. ‘Well, if you need to arrest someone, as you’ve gone to all this trouble, then please go ahead,’ he said, with a deferential smile.

That network tv procedural show that sticks like glue to its format, but which you watch because the machinery of it is so well-honed. These are the George Cross crime novels. And they’re at the point where you need to have read the last three or four before reading this one. You can’t just jump in with any book any more. If you’ve read any of the others, you’ll like this one, which pulls off its final twist pretty well.

This is, however, my last case with the autistic Detective Sergeant George Cross. Sullivan has built a lovely little device here, and he operates it very well. If you’re looking for cosy crime, try any of the three or four books previous to this one. And the little dives into the history of British bookselling are fun. But- and this is entirely personal feeling – cosy familiarity eventually drives me off, and so it is here.

A few moments later a door with a reeded glass panel opened and a ball of white hair, in the middle of which could be two small black eyes, appeared. Denholm Simpson, for it was he, had a resplendently thick mop of hair on his head and a vast white beard almost covering his entire face, ending just below his eyes. His mouth was completely hidden somewhere in this hirsute undergrowth, its location indicated only by a brown nicotine stain. He looked like an out-of-control muppet on a windy day.

“For it was he.” Gorgeous.

I am unsure as to how these books are not an ITV series yet.

THE BOOKSELLER, Tim Sullivan (UK) (US+)

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I have not yet successfully cracked Jon Fosse’s longer works. He has perfected a kind of circular breathing of prose, repetition becoming mantra, and what that means for me is that there are no pauses or breaks. But I can handle the novellas, just about.

ALISS AT THE FIRE is probably as close as Fosse will ever get to genre. It’s a haunted house story. I’m sure many people, including Fosse himself, would argue about that, and it’s about loss and generational grief. But at its root, it’s about the house and the things that happened there.

A woman lays on a bench in the isolated home her late husband grew up in. She never left it after he vanished, presumed dead, twenty years earlier. She turns her head, and she sees herself, twenty years younger, standing at the window waiting for her husband to come home. And then we inhabit that younger woman as she waits and frets. The older woman remembers herself remembering her day-younger self talking to her husband, seeing her husband leave, and then we inhabit the husband, walking the paths that his family have walked for hundreds of years. And he sees a fire on the shore of the fjord they have lived a short walk from for hundreds of years. The fire shouldn’t be there, not tonight, not in this weather. And it is a pale purple. And there is a figure there, charring off sheep’s heads in the flames (sheep’s heads were peasant food in Norway hundreds of years ago). That is Aliss, his grandmother several great-grandmothers down. Aliss at the fire. Time collapses. We witness family units separated by centuries going about their lives. And the wife now and the husband twenty years ago see them. The men of the family are connected by water, by the fatal fjord that calls to them. The women are connected by this house they marry into, and by loss.

The ending, when it comes, is a sharp, wailing shock that I’m still thinking about.

You’ve got to be in the mood for Fosse. You have to be in the mood to be lost at sea and move like a wave through the text. You have to give up on time passing. If you are, then this experience is remarkable.

ALISS AT THE FIRE, Jon Fosse (UK) (US+)

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HOW TO STAGE A COUP, Rory Cormac

Much mythologized and heavily romanticized, covert action is one of the most misunderstood aspects of the grey zone within international politics.

This was good fun. Essentially a tour of spookwork past and present (the book was published in 2022).

The grey zone is not some blurred line between war and peace; such a thing has always existed. The real grey zone is epistemic: blurred lines between what we know, what we do not know, and what we think we know. The novelty in all of this comes from the fluctuating space between covert action and public knowledge, the decline of state secrecy and the rise of multiple competing narratives churned out across a kaleidoscopic media landscape.

There are, perhaps obviously, things here that I can connect to the Prigozhin book, especially considering he ran the troll farm Internet Research Agency, and that book’s detailing of infighting in the adhocracy:

Russia seeks to seamlessly meld disinformation, subversion, offensive cyber operations and conventional military force. This is not to exaggerate the success of Russia’s approach, though. Putin is no chess grandmaster, deviously manoeuvring his pieces across a global board. Russia’s intelligence agencies compete with each other; covert action is the outcome of bureaucratic infighting. They might take on dangerously risky operations simply to outdo each other; they might encroach on each other’s turf; they might tell Putin what he wants to hear simply to curry favour. As one former Russian intelligence officer put it: ‘You do not bring bad news to the tsar’s table.’

Here, I came across the term liminal warfare, which I find defined elsewhere as “a type of warfare that involves operating near the threshold of detectability. It’s characterized by ambiguous actions that are designed to achieve political objectives without triggering a military response.” Per Cormac:

The Kremlin in particular sponsors operations which are ‘sufficient to keep the wound bleeding but insufficient, thus far, to warrant massive retaliation.

I also find herein this little gem:

One head of intelligence at the end of the Cold War acknowledged the secret services’ droit de mort, or right of death.

It’s a very readable book, rippling through ten aspects of global covert action, going deep into detail and unearthing all kinds of interesting stuff while transmitting lessons learned and marking out the immediate future in clear and often disturbing terms.

The next decades will witness more, not fewer, covert actions. As hidden hands become less hidden, these covert actions will rely on confusion, disruption, ambiguity and cynicism; they will reflect our age of formlessness.

Very educational for me. All kinds of useful stuff. Glad I read it.

HOW TO STAGE A COUP, Rory Cormac (UK) (US+)

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HIS PATH OF DARKNESS, Ed James

The sixth in the “DI Rob Marshall” Scottish police procedural sequence. And you have to read the other five for this one to make any sense at all.

‘The blood tox came back saying she had drunk enough booze to banjax an aircraft carrier full of sailors.”

Ed James writes these books fast, and they fizz with that energy, even as he seems on the verge of losing control of the material completely. The crime plots are excellent, there’s a sense of humour at play, and James delights in subverting the norms of the form just a little bit. At this point in the sequence, there are too many characters – it does that thing anyone who’s read a later M*A*S*H book recognises, where the plot contrives to use every single bloody character from all the other bloody books — but James has realised this and goes a bit Mick Herron in this one. One hopes that the surprise cullings open up space for some of the cast to get more space in the next book, rather than creating slots for new characters. I personally also hope James has developed a taste for blood and decides to remove some more of that cast.

But I read Ed James for the intelligently built crimes and investigations, and this was a good one. Marshall himself is often good company – even if I was shouting at him and James at the end of the book. Which in itself is probably a sign of well-cultivated investment.

HIS PATH OF DARKNESS (UK) (US+)

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DOWNFALL, Anna Arutunyan and Mark Galeotti

A short, dense, sharp book about “Putin’s Chef,” the man who formed and ran the Wagner private military company, the man whose armed mutiny nearly reached the Kremlin itself.

…he was ‘sitting’ in Russian parlance, stuck behind barbed wire in what was known as the Zone, the Soviet penal camp system. Old hands in the criminal subculture of the vorovskoi mir, the ‘thieves’ world’, would claim that their real life was that lived inside the Zone.

Prigozhin travelled the world and made millions upon millions, but he never truly left the Zone. This is the story of a born thug and career criminal who learned how to manipulate power but never learned how to armour his own ego against the fact that he was always going to be the hustler with his hand out.

This is, after all, how Putin’s system works. To a considerable extent, it is a modern, bureaucratic state like so many others, its day-to-day actions defined by rules, laws, regulations and institutions. Atop it, though, is an almost medieval court, in which constantly competing factions and individuals are struggling for the most important currency of them all: Putin’s favour. That, in turn, can be converted into whatever else one could want: wealth, fame, power over one’s enemies.

Not that dealing with that world worked out well for everyone in post-Soviet Russia.

…the only man who knew for sure where all the money was, Central Committee treasurer Nikolai Kruchina, fortuitously fell out of a window.

There is a dark dry humour woven through the book. Which isn’t out of place when you’re tracing the life of a street criminal who became a restauranteur and caterer who became a mercenary army commander.

Wagner, so named for the callsign used by Utkin, a man who, as one Russian newspaper report so coyly put it, was ‘known for his commitment to the aesthetics and ideology of the Third Reich’. (He would even sometimes greet Prigozhin with ‘Heil Petrovich,’ using his boss’s codename.) Naming a mercenary army after the German composer may seem surreal, but it later led to a whole slew of supportive memes, with the force being referred to euphemistically as the ‘orchestra’.

The Russian Defense Ministry described Prigozhin thusly: “no morals, no conscience, and no hobbies … He is a machine in the bad sense of the word.” He made himself into a machine for gathering money and power, but the book makes it clear he was always on the outside of real power. The story would almost be a tragedy if Prigozhin wasn’t such a fucking monster. It seems apt that, towards the end of his story, he came full circle:

The first videos that emerged showed Prigozhin standing in a circle of zeks, Russian penal colony prisoners, in their black and white uniforms. He made no bones about the fact that he was from Wagner, that the war was hard and that he was looking for ‘stormtroopers’, but he made his pitch based on equal parts patriotism, machismo and self-interest: ‘no one falls back, no one retreats, no one surrenders’, if need be on pain of a firing squad, but after six months of honourable service, they would be discharged and free. Or dead: ‘I take you out of here alive, but don’t always bring you back alive.’

Admittedly, at least then their families would receive a 5-million-ruble payout (worth some $57,000 at the time). In many ways, this was quintessential Prigozhin. The ever-resourceful businessman had found a new source of manpower for the war, but he could now be out in the open, and talking to the kind of people he had been able to understand and engage in his twenties and still could today.

The follow up to that teaches me a new phrase: “meat wave.”

To a large extent, they would be used as poorly armed and poorly trained cannon fodder, deployed in so-called ‘meat waves’ to wear down or draw out the Ukrainian forces and shield the more experienced Wagner veterans, and their casualties were inevitably frightful.

It’s perhaps a little light on detail in its final chapter or two, partly because at the time of writing it was (and is) still unknown precisely how Prigozhin was killed. But we all know why. Perhaps the real subject of this book is not Prigozhin, but what examining his life reveals about how modern Russia works. The adhocracy, headed by an ageing tsar who puts off hard decisions for entirely too long.

And Aleksander Dugin pops up!

Putin doesn’t care, because he has created a system in which there are always more waiting for their chance. Take, for example, the philosopher Alexander Dugin, a man whose greatest genius may be in self-promotion. For a short while in 2014, his nationalist views aligned with the interests of the Kremlin and he was elevated to scholarly superstar status, his books on every shelf, interviewed on every television channel. Then official policy changed, and Dugin – who for a while was being described as ‘Putin’s brain’ in the West – was no longer needed. The TV appearances dried up, and he even lost his position at Moscow State University. Yet still he stayed loyal – what else was there for him?

Brilliant book. Zips along, and yet feels very complete. And if, like me, you haven’t read deeply into current Russian politics, it feels like a great primer for the actual state of things inside the Kremlin, and explains much about the current situation.

DOWNFALL (UK) (US+)

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