(Expect more of this sort of stuff in the coming weeks. Sorry.)
PS: It’s here for the next week; from about an hour in.

There are memoirists like Child who write about what made them famous, or infamous. There are unremarkable people who write about a remarkable thing that happened to them. And there is the 21st century memoirist, who makes him- or herself interesting in order to write about it.
The best of the bunch – and the one in which music is least central to the narrative – is ‘Come Rain or Come Shine’, which involves a 40-something language teacher staying at the London flat of some rather more successful university friends. Ray (the teacher) and Emily (half of the successful couple) once bonded over a mutual appreciation of the Great American Songbook; which makes it especially jarring that Ray refers to the work of ‘Howard Arlen’, especially since it’s a Harold Arlen song that gives the story its title. (When I saw David McAlmont in London last year, he said that Arlen had been his favourite composer for many years, but he hadn’t realised it, because he’s a wee bit anonymous when set alongside the likes of Gershwin and Porter.)
First mainstream media mention of my Noughties book, in the midst of Andrew Collins’s witty yet thoughtful analysis of Dan Brown's lasting appeal....a collection of public library holdings that we find amusing and maybe questionable for public libraries trying to maintain a current and relevant collection.In this sense it’s like the splendid Plaid Stallions, in that it pokes gentle fun at things that used to be current and relevant, but now seem faintly ludicrous. For example, this fascinating tome from 1993:

Years later he’d stood in the charred ruins of a library where blackened books lay in pools of water. Shelves tipped over. Some rage at the lies arranged in their thousands row on row.
—Cormac McCarthy, The Road
None of your preferred networks are available.Which is annoying on two counts: first, it should really be "None of your preferred networks *is* available", since "none" is singular; but also because when I want to complain about Apple's lousy grammar, I have to use Small Boo's computer.



It is appreciated, however, that this is a question of higher policy involving race relations in the USA and that if, for the moment, niggers may not be treated as the subject for comedy, dagoes must suffice.And then:
It has lately been demonstrated that cinema audiences do not know whether the films they see are spoken in Italian or English. It is useless to write down to their level. Try to produce a work of art.












