Do Booker winners become so for a reason? The 2026 Longlist came out on 28 July

Do Booker winners become so for a reason? The 2026 Longlist came out on 28 July The question is open. Each year I set out to read at least some of the books. Here is the list for this year, which I will update as I progress through my reading and responses: 2026 Booker Longlist … More Do Booker winners become so for a reason? The 2026 Longlist came out on 28 July

As I read Jem Calder’s celebrated novel ‘I Want You to Be Happy’, Ella Fitzgerald’s best-known lyric sung through as if it has lived with me forever. This is really a blog on that novel.

As I read Jem Calder’s celebrated novel ‘I Want You to Be Happy’, Ella Fitzgerald’s best-known lyric sung through as if it has lived with me forever. This is really a blog on that novel. To be honest, I was reading Jem Calder’s novel because is aid I would because he is appearing at the Edinburgh … More As I read Jem Calder’s celebrated novel ‘I Want You to Be Happy’, Ella Fitzgerald’s best-known lyric sung through as if it has lived with me forever. This is really a blog on that novel.

Some reaons for missing a technology that still required a person to drive and regulate its process: the case of the hand loom and cottage industry in literature. A blog on extracts from George Eliot’s ‘Silas Marner’ and Douglas Stuart’s ‘John of John’.

Which outdated technology do you miss the most, and why? Some reaons for missing a technology that still required a person to drive and regulate its process: the case of the hand loom and cottage industry in literature. A blog on extracts from George Eliot’s ‘Silas Marner’ and Douglas Stuart’s ‘John of John’. My collage … More Some reaons for missing a technology that still required a person to drive and regulate its process: the case of the hand loom and cottage industry in literature. A blog on extracts from George Eliot’s ‘Silas Marner’ and Douglas Stuart’s ‘John of John’.

Changing the ending? The issue is not with ‘books’, so to speak, but with stories, where changed endings are only one form of a work, which must exist through history as ‘translations, versions, or adaptations of works’ that involve ‘a conversation with an earlier writer’. Let’s choose, then, as so many have already done, a story where conversations with the original are ‘an encounter … across the span of two-and-a-half millennia’. Part Three of an examination of three versions of ‘The Oresteia’ before Simon Stone’s brilliant version: the ‘Girl Who Closed Her Case’ in ‘The Oresteia’ of Zinnie Harris, ‘This Restless House’.

Changing the ending? The issue is not with ‘books’, so to speak, but with stories, where changed endings are only one form of a work, which must exist through history as ‘translations, versions, or adaptations of works’ that involve ‘a conversation with an earlier writer’. Let’s choose, then, as so many have already done, a … More Changing the ending? The issue is not with ‘books’, so to speak, but with stories, where changed endings are only one form of a work, which must exist through history as ‘translations, versions, or adaptations of works’ that involve ‘a conversation with an earlier writer’. Let’s choose, then, as so many have already done, a story where conversations with the original are ‘an encounter … across the span of two-and-a-half millennia’. Part Three of an examination of three versions of ‘The Oresteia’ before Simon Stone’s brilliant version: the ‘Girl Who Closed Her Case’ in ‘The Oresteia’ of Zinnie Harris, ‘This Restless House’.

Changing the ending? The issue is not with ‘books’, so to speak, but with stories, where changed endings are only one form of a work, which must exist through history as ‘translations, versions, or adaptations of works’ that involve ‘a conversation with an earlier writer’. Let’s choose, then, as so many have already done, a story where conversations with the original are ‘an encounter … across the span of two-and-a-half millennia’. Part Two of an examination of three versions of ‘The Oresteia’ before Simon Stone’s brilliant version: the Family Romancing of White Power in ‘The Oresteia’ of Eugene O’Neill, ‘Mourning Becomes Electra’.

Changing the ending? The issue is not with ‘books’, so to speak, but with stories, where changed endings are only one form of a work, which must exist through history as ‘translations, versions, or adaptations of works’ that involve ‘a conversation with an earlier writer’. Let’s choose, then, as so many have already done, a … More Changing the ending? The issue is not with ‘books’, so to speak, but with stories, where changed endings are only one form of a work, which must exist through history as ‘translations, versions, or adaptations of works’ that involve ‘a conversation with an earlier writer’. Let’s choose, then, as so many have already done, a story where conversations with the original are ‘an encounter … across the span of two-and-a-half millennia’. Part Two of an examination of three versions of ‘The Oresteia’ before Simon Stone’s brilliant version: the Family Romancing of White Power in ‘The Oresteia’ of Eugene O’Neill, ‘Mourning Becomes Electra’.

Obviously, for me, most of screen time is taken up by WordPress, and sister app Jetpack (on my mobile): ‘feeling bad’ is often its subject because it is about using my time for registering or reflecting, consolidating, and furthering personal learning.

As always, the title is the only way the answer to this prompt will get expressed. The rest becomes a test case and example of what that title’ means in practice. The aim is to extend my learning to state how I prepare to use time in that process – by planned theatre or arts … More Obviously, for me, most of screen time is taken up by WordPress, and sister app Jetpack (on my mobile): ‘feeling bad’ is often its subject because it is about using my time for registering or reflecting, consolidating, and furthering personal learning.

This blog uses Elizabeth Strout (2026) ‘The Things We Never Say’ as a test case for a thesis based on the difficulty of erasing trends from history. In it, the narrator says that Artie Dam, thinks his despair at the ‘state of the world’ relates to the hopeless hope that a dangerous right-wing demagogue does not win an American election fought(and won by the wrong person)  in the background of the narrative yet influential within it. However: ‘because he had studied history. He was aware that in all human existence there had never been a time where people were not killing one another, and why he had not been affected by this as strongly throughout his life as he was these days he could not understand’. As he gets home and removes his sailing boots he suddenly understands that his despair had another more primary cause: ‘It was an accretion of loneliness; …’.

This blog uses Elizabeth Strout (2026) The Things We Never Say London, Viking / Penguin as a test case for a thesis based on the difficulty of erasing trends from history. In it, the narrator says that Artie Dam, thinks his despair at the ‘state of the world’ relates to the hopeless hope that a … More This blog uses Elizabeth Strout (2026) ‘The Things We Never Say’ as a test case for a thesis based on the difficulty of erasing trends from history. In it, the narrator says that Artie Dam, thinks his despair at the ‘state of the world’ relates to the hopeless hope that a dangerous right-wing demagogue does not win an American election fought(and won by the wrong person)  in the background of the narrative yet influential within it. However: ‘because he had studied history. He was aware that in all human existence there had never been a time where people were not killing one another, and why he had not been affected by this as strongly throughout his life as he was these days he could not understand’. As he gets home and removes his sailing boots he suddenly understands that his despair had another more primary cause: ‘It was an accretion of loneliness; …’.

Let’s assume that ‘who we are’ can release an agency that shapes us beyond ‘who we are and were’ into some refined or reconfigured version of that self in the near or distant future. However, it can only do this by its response to experience. Do novelists deal with the kind of problem any more?

Let’s assume that ‘who we are’ can release an agency that shapes us beyond ‘who we are and were’ into some refined or reconfigured version of that self in the near or distant future. However, it can only do this by its response to experience. Do novelists deal with the kind of problem any more? … More Let’s assume that ‘who we are’ can release an agency that shapes us beyond ‘who we are and were’ into some refined or reconfigured version of that self in the near or distant future. However, it can only do this by its response to experience. Do novelists deal with the kind of problem any more?

The answer to whether one is a ‘lifelong learner’ is the title of the latest novel by Kae Tempest, namely ‘Having Spent Life Seeking’: as for what we seek to learn is it this? – ‘How to get by without ever getting anywhere, when getting through a minute was infinite; but every ending achieved was still only the beginning’.

The answer to whether one is a ‘lifelong learner’ is the title of the latest novel by Kae Tempest, namely ‘Having Spent Life Seeking’: as for what we seek to learn is it this? – ‘How to get by without ever getting anywhere, when getting through a minute was infinite; but every ending achieved was still … More The answer to whether one is a ‘lifelong learner’ is the title of the latest novel by Kae Tempest, namely ‘Having Spent Life Seeking’: as for what we seek to learn is it this? – ‘How to get by without ever getting anywhere, when getting through a minute was infinite; but every ending achieved was still only the beginning’.

Invited to imagine ‘your life’ as a book, the convenient thing about what you’d call a ‘chapter’ in it, is that it ends and pauses before another chapter begins. Is that because your life changed at some point or because, after the event, you want to write it as if it had?

One of the great beauties of writing an autobiography, a written story of the life you have passed thus far, is that, in writing it, you have the advantage of interpreting it, or any part of it, with a different view of what it all means now, or should as far as you are concerned … More Invited to imagine ‘your life’ as a book, the convenient thing about what you’d call a ‘chapter’ in it, is that it ends and pauses before another chapter begins. Is that because your life changed at some point or because, after the event, you want to write it as if it had?

Édouard Louis shows us that ‘happiness’ may be the result only of ‘social determinism’ succeeding in its function to ‘condition the person’ you are. This is a blog on Édouard Louis (2026) ‘Collapse’, London, Harvill.

Édouard Louis shows us that ‘happiness’ may be the result only of ‘social determinism’ succeeding in its function to ‘condition the person’ you are. [1] This is a blog on Édouard Louis (2026) Collapse [Trans Tash Aw], London, Harvill. This piece probably relates to what I have tried to say in blogs about earlier books. The … More Édouard Louis shows us that ‘happiness’ may be the result only of ‘social determinism’ succeeding in its function to ‘condition the person’ you are. This is a blog on Édouard Louis (2026) ‘Collapse’, London, Harvill.