JUST PUBLISHED
0 Making Cocoa For KingsleyAmis \‘s'entlv ('tipe l [‘alier UV?) [[ilar'rtius. r‘a/tiresharp verse tltiusetl lilierallv with anti-pseutl, [he title ptiem isrllustrative:
I! H m it t/i‘t'tmr Hittt/ [tzsr H ee/t .l/lt/ \tI/Ilt' A[’i(t/f’/ 't't tll't/v \t't’Nlt it; l‘flt1/. l/virt'it 1/ ll tirtltt’ir '1 he time/r «if a A/H’t'Hl li’ttr ll} it t" the rule. 0 Thomas Creevey‘s Papers. Selet‘letl .tlttl ['tlllL'tl li_\ .ltihn ( iltl\ e t l’engurn L545) \‘vllell he tlletl. ( ir‘eev e\ . .‘leetil'tllllg‘ [ti lll\ liitigrapher’. "was ltir’gtilteri tn riti time. as are all liut the giants and lreaks in lrle's err‘eus‘. But as a w ell-etirilieetetl \Vhrg \[l’ he hatl a r'rngsrtle view til searitlal Regent‘s rsts le aritl his I’ll/ten. lir'st tlisetiveretl in [All ll 1. are as intlrsereet aritl Q\l\\l["’['ltltlletl asstime pulilishetl tin the Saliliath. 0 Lines Review 95 t .\l. \[ael itinaltl l; l fillixpeeral ( ariatlian issue til the ptietrv tiuar terl}. . guest~etlrtetl [iv \Valter l’errre ,-\utlrev lhtimas. eur rent htiltler til the Setittrsh (‘anatlran Vs riter ~s [-elltiwsliip. figurespr'tirninentlv. o The Green House aritl The Time of the Hero \[ar iti \argasl ltisa l l’ieatltir' Ulla eaeh l [wti teeming ntivels set in l’er‘u. Hie (' i'i‘et'ii l/tittvt’ ltitiks at the elleet a pleasuretlt ime has tin the ttiwnsltilk til l’ur'ra while Hie limt'tif {/lt' Ht'r‘ti takes the elleltisetl st ieiet_\ til a .‘slrlrtarv .‘\k‘tlle’[[l_\ in linia aritl evptises it as a snakepit til satlisni. .\ thtiusantl etipiestil /"/'( ) [H were pulilielv liur‘rietl. ntit as a pulilrsher”s stunt ttiupsales 0 Tom Macdonald1914—1985 Paintings. Drawings and Theatre DesignSt l‘liirtl l-vtit'eriire H) [as rshl_v [fur the prree l illustratetl pamphlet til the life and wtir'k til the (ilasgtiw Sui l'L‘;:ll\[ ttippetl tip with i‘ertteriilir'artees tit times past [is [:tlwiri [\[tirgarr .[tihn lav ltir'. .ltisel ller‘man. Russell [lunter antl a ltintl er'itreal appr'eeiatitin liv (itll'tlk‘llil ()lrver. r 0 ‘Hell!' said the Duchess orFirst Lines (iernma ( )'( ‘tinntir t \Vtillhtiuntl [’r'essl Beginning at the liegirining. a Slleearithailtigs tit litiw writers rev up. Stime rntr'rgae. titlier's amuse antl mans rntir‘e are trnrernar‘kalile. savetl lrtini the spike tinlv [is what ltilltiws. \ti ('tinratl. ( ireene. [’illelHll aritl. unltirgrv alils . nii [tirtl \[atitiv [‘tirtl: "1 his is the satltlest sttir‘_\ [has e ever liettt‘tli. [[e\ I'lglil. ltiti. o The Penguin Dictionary of Political Quotations ( itimprletl li_v [{tiliert Stewart tl’engurn L3.‘l51(ierier‘titis helping til litin rtitits liut liiasetl ttiw artls the tlul; rather than the
42 The List 21 Mar— 3 Apr
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0K8
menitiralile. .ll'iK'sltiunwtirtl kritiwletlge til (ier‘man ‘leh lirri ern Berliner rst nieht lirer'. ntir rs l)tirtithv l’arkerssvmpathgtre respiirise tti the .leath til l’resrtlent ('titilr'itlge. 'l ltiw tlti thes kzitiw _" she asketl.
0 The NancyMitfordOmnibus \ariev \[itltirtl l [’erigtnn t..‘."5l l he anialtir'v antl stieral tr‘ralstil the Ratllett lanirlv whtise truest ltir 'anitrsenierir permeates //1t' /’rtr'srtir (If [.tllt'. [all t'f/lt1( tl/tt/( til/iltlt't'. li/[ti li’/t‘svme aritl llwi I [I'll/i it'lrt'tf. l tirtl .‘\lL‘tl[llL'lL'll. l‘lt‘llllllv.‘lll in the lit st twti. was nititlelletl t in the authtir s lather w hti lieltir‘e erriliraerrig l lrtler ehasetl hrs ehiltlren ts rtli a
‘3 v -i f Ter ‘14 Wk 5?; a; , Q} I, ,.i I, if: The 32 Q 1 «I ‘1'. .' l—v .94} ’j‘f {-3 "3‘ "lF" '§ '1‘}. [T ‘3-2 '33: 13 Jib - r. a * '. \I ‘ 3 .. l. r‘ ".g-r- .. if .... it. x...“ fl \ a» I" " \s r" k “E l y... ‘\ \i \ r \h I ‘.H r mm. '\_ e" y/‘u ‘1‘ . ii [t it y F :— ‘- s s. a. r .i i ‘ I E'- l- 5 li.‘ 9- : 4 A
Penguin. universally regarded as the Gucci of publishing have stamped theirwebbed leetoverthe paperback coverofAlasdairGray's novel The Fall of Kelvin Walker. much to the author's chagrin. Usually Gray (‘the first major Scottish writersince SirWalterScott‘ Anthony Burgess) is allowed to influence the design of his books. as indeed he did with the hardback edition ofTFDKW published lastyearby Canongate. but he wants completely to dissociate himself from ‘the worst Penguin cover I‘ve seen in my life.‘ which hefeels would bettergrace Woman‘s Own. In a letterto The Bookseller he turned ‘a squeak of private annoyance into a squawk of public outrage‘. With his tongue lodged firmly in his cheek he told me that ‘it‘s good standard practice to have a misleading cover on paperbacks‘ but heleelsthistime Penguin have overstepped the mark. Gray writes: ‘It (the Penguin cover) shows a prim fellow squirming with embarrassment in a glamorous woman‘s passionate embrace. No such thing happens in the
— i
AY’S NIGROUE
liltititlhti'tntl and [is enetl his I .tintltin tilliee htiurs li_\ hunting rats with a
liltilig‘titise.
oTraditionalHomeandHerbal Remedieslari tle \ r'res t \larnslream HUS) [’tir tlrar'r'htiea tle \rtes r'eetinimentlsa talilesptitinail ar'timatiesvruptil i'litt/iai/i. l tir' a slut ptiirit a sharp instrument at t stse while reeitrng a ( iaelie ineantatitin l alter taking a
etirr'esptiritleriee etiurse l. rm lireeups lti w lireh w are parlreularlv prtirie [Wetlllle in aritl titrl til a paper liag
twentv times [*tirsteptiersrn trv
lititils,
0 Weekend Wodehouse l’. t i \Vtitlehtitrse l [ [.rtehiristiri NUS l l'ur‘ther'etinlrr'niatrtin tin everjv page til lltls etilleelltill til the lilttslel‘s t‘r'alliness antl that things lier‘ealitiuts are ntit w hat thev usetl tti lie. ‘Whether' the great er‘rlies were liitter lieeatrse thev hatl liear'tls tir' liatl lieartls lieeatrse lhei. were lirlter is liesitle the ptiint. [lie laet [e'llllllll\ that all the gr'ea'. lrter‘ar r'tiws \titr
novel. which describes a man‘s single—minded efforts to seduce a good-natured girl who likes him. but finds him sexually unattractive. He does seduce her. atfirstthrough pity. thenthroughviolence. thenthrough force of habit. but she never cuddles him against his will . . . The Penguin cover suggests a gauche chap‘s fall from lrigidity into eroticism.’ Bernard MacLaverty. author of 'Cal'. has suggested that what could be construed as a flower-patterned dildo protrudes from the young man‘s fingers. We have reproduced both hardbackand paperback covers above to allow you to draw your own conclusions. Had he had his way Gray would have designed ‘a coverwhich wasjustas sexually suggestive. buttrue to the
content. . .‘ Penguin. though sad at Gray's unhappiness. clearlythinkthey have ‘something inthe nature ola bestseller‘ on their hands and prepublication orders from booksellers seem to be confirming that they have theirfingersfirmlyonthe public pulse. (Alan Taylor)
read about were between [iear‘tletl men. w‘liisker‘etl rnert. er'rties w hti
ltitiketl like liur'sting htir'sehair‘ stilas.
antl ntivelists w hti hatl ltir'gtitteri tti shave ltir' sears. [he [atlinliur'gh review ers w ere heave is in a man .‘
REVIEWS
0 Private Papers \[ar‘gar'et [‘it\['\[L‘l‘ (eliattti tk \Vintlus £5.95) Margaret [-tir'ster has a kriaek ltir' eutting thr‘tiugh sentiment tti e\ptise truth. an unetimltir'talile haliit liut tine w'hieh ensures her reader’s emtititirial rnvtilveriient. [n this new ntiv el she eltises in tin the lamilv antl all the illusrtins w hieh surrtiuntl rt. l’erieltipe Butler. mtitliertil ltiur tlaughter‘s. war w itltiw' antl stauneh tleleritler' til ‘the laniilv has lieen keeping a memtiir in an attempt tti untlerstantl her past mistakes, \th tlltl .[ess tlle. ['liillk' get tll\til'eetl tllitl ('elia aritl Rtisernarv never marrv'.’ [{tiseltlttl‘s. the eltlesl. llritls the private papers in her mtither"s tlr'awer‘ aritl is enragetl at w hat she sees as flagrant sell—tleeeptrtin. 'l'he ntivel. a written tlialtigue lietw'een unw ittirig mtither and a daughter hell ~lierit tin inserting the tither‘ per'speetis e. imitates the intense atrritispher'e til larriilv r'elatitinships, :\l‘ltl the reatler is ear'r‘ietl alting wateliing the twists and turns til an urilir'eakalile litiritl tlev eltip intti a paintul truee. ('l'anii ( ushing—Allan) 0 Less Than Zero lire-r la;tsitin l-illi's l [’ieatltir' BUS l ( ‘la_v returns tti allluent l.:\ ttir' ( 'hr‘istmas htilitla}.s lr'tirn his first term aw av at etillege. [he tlavs aritl nights [Use in a itivless. meaningless mtintage til parties. r'tiek eltrlis antl tlr‘iving artiuntl tr'tim
mansrtin tti penthtiuse in the w‘tirltl til’
gav pimps and mm ie e\'ees and their
teenage pr'tigeriv But the eharaeter‘s.
inelutling ( 'la_v . laek perstinalities thes are just names tir' pr'tilessitins w'hieh snitike itiints. get drunk. and sleep It igether' in v ar'itius etini'iiinatitins. [he \ erlis ‘tti think‘ antl ‘tti feel are etinspreutius [iv their Lll‘seilee. tllitl etike tlL‘tlls. \tttllslle \L‘X. aritl lurieh with Dad are tleserilietl with etiltl—liltititletletiuariimitv. Verlial e\'ehanges are v apitl tn the max. ‘Ytiu‘re a lieatrtilul litiv. ( ‘lav. lint that‘s alitiut it.‘ savs gir'll'r'ientl lilair' in a rare mtirnent til insight. [(‘lav is liltintl antl eventuallv tannetl. rust like ever‘v lititlv else.) [his etiultl tiril_v take plaee in l..\.
antl in the tlepretitin tifl'inselttiw'n. the If i vear-tiltl atrthtir is mtire sueeesslul. But tiverall. reatling /.t's‘s 'lilztur ATM is like w'atehirig tine til thtise late—night. ltiw—liutlget. [V mtivies that make the adverts ltitik gtititl. l [.aur'a Yaririel
0 Last Dance With You ( irate [flgtiltllTV l [\[rehael .[tisepll LVN.“ [‘(illtl\\ ing her lir'illiant tleliut with .‘[('/'()\.\[/lt' [li11[('/'.(i[‘£lL'L' [rigtiltlliv has prtitlueetl a seetiritl striking ntivel. l.t1.vl /)t1/l(‘t' [lit/1 i'tirt is a tense work that uriftiltls the plight til [’eter [’tix. the 'nitiliile rriausetileurri‘. as he wrestles with guilt and an itlerititv er'isis alter the suieitletit his tltirriiritttirigvt't etimpellirig lather. Rl-f