What the critics thought of Mad Girl's Love Song by Andrew Wilson, The Blind Man's Garden by Nadeem Aslam and Benjamin Britten by Paul Kildea
"How interesting is Sylvia without Ted? The answer is no more so than any other all-American competitive college girl in a hurry to lose her virginity and become famous. Like most teenagers, Plath saw herself as highly unusual but what comes across in these pages – aside from the astonishing number of boyfriends she managed to notch up – is the sheer ordinariness of her story once the myth of her marriage has been removed." So argued *Frances Wilson* in the Evening Standard review of Andrew Wilson's Mad Girl's Love Song. The Daily Telegraph's *Anne Chisholm* gave the book five stars, but it was difficult from her review to see why: "the notion that literary biography might shine a light on the mystery of artistic creation is overlooked in Wilson's zeal to establish that Plath messed with the facts in her fiction … Wilson's coup is to have tracked down Richard Sassoon, the lover who preceded Hughes … But Sassoon … refused to be interviewed." In the Times, *Erica Wagner* counselled "keep Plath's books close while you read Wilson's biography. It is to those that you will return." So it was up to the Sunday Times's *John Carey* to be eloquent in praise of the book, which he saw as "refreshingly inquiring … uncovering new, intimate perspectives on Plath's life, and skilfully invoking the atmosphere of 1950s Ivy League college life … It has the tautness of the first act of a great tragedy."
The Independent on Sunday's *Leyla Sanai* was in raptures over Nadeem Aslam's fourth novel, The Blind Man's Garden, set in Pakistan and Afghanistan in the months following 9/11: "Once or twice a year, a book stuns me … My expectations were high: Aslam has won a clutch of prizes. But the power of this extraordinary novel is still jarring … despite the ugliness of war, this book glows with a radiant beauty." Pretty much the only "tiny flaw" she could find was a sentence containing four commas. "Man Booker judges: don't miss this." *Ian Thomson* in the Daily Telegraph was also positive: "The portentous writing in The Blind Man's Garden ("Above him the sky has suddenly opened into the cold of the cosmos") detracts only somewhat from a gripping work that goes to the heart of Muslim fanaticism and Pentagon intransigence alike. Aslam is a wonderful talent, and we are lucky to have him."
The publication of Paul Kildea's Benjamin Britten has up till now been overshadowed by his claims about the composer's syphilis, but reviewers were convinced of the book's many merits. According to *Rupert Christiansen* in the Spectator, it "is cleanly shaped and moves as swiftly and surely as the music it honours"; Kildea "has a fine sense of social and cultural context too. Writing with crisp urbane elegance, he displays an acute sense of his subject's convoluted psychology, and although he seems to become increasingly hostile to Britten as he gets older and more tetchily autocratic, he has no impulse either to debunk or sensationalise him … Kildea is nobody's patsy, towing an accepted line or bowing infatuated before an idol.""Above all," wrote *Barry Millington* in the Evening Standard, "he shows how Britten's deeply held social convictions (he was a committed Left-leaning pacifist) shaped his entire oeuvre … this is a masterly, highly readable account." The Independent on Sunday's *Frances Spalding* was also impressed: "if you have ever been touched by the magic of Britten's music, and want to perceive its alchemy, then don't miss this book."
guardian.co.uk © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds Reported by guardian.co.uk 16 hours ago.
"How interesting is Sylvia without Ted? The answer is no more so than any other all-American competitive college girl in a hurry to lose her virginity and become famous. Like most teenagers, Plath saw herself as highly unusual but what comes across in these pages – aside from the astonishing number of boyfriends she managed to notch up – is the sheer ordinariness of her story once the myth of her marriage has been removed." So argued *Frances Wilson* in the Evening Standard review of Andrew Wilson's Mad Girl's Love Song. The Daily Telegraph's *Anne Chisholm* gave the book five stars, but it was difficult from her review to see why: "the notion that literary biography might shine a light on the mystery of artistic creation is overlooked in Wilson's zeal to establish that Plath messed with the facts in her fiction … Wilson's coup is to have tracked down Richard Sassoon, the lover who preceded Hughes … But Sassoon … refused to be interviewed." In the Times, *Erica Wagner* counselled "keep Plath's books close while you read Wilson's biography. It is to those that you will return." So it was up to the Sunday Times's *John Carey* to be eloquent in praise of the book, which he saw as "refreshingly inquiring … uncovering new, intimate perspectives on Plath's life, and skilfully invoking the atmosphere of 1950s Ivy League college life … It has the tautness of the first act of a great tragedy."
The Independent on Sunday's *Leyla Sanai* was in raptures over Nadeem Aslam's fourth novel, The Blind Man's Garden, set in Pakistan and Afghanistan in the months following 9/11: "Once or twice a year, a book stuns me … My expectations were high: Aslam has won a clutch of prizes. But the power of this extraordinary novel is still jarring … despite the ugliness of war, this book glows with a radiant beauty." Pretty much the only "tiny flaw" she could find was a sentence containing four commas. "Man Booker judges: don't miss this." *Ian Thomson* in the Daily Telegraph was also positive: "The portentous writing in The Blind Man's Garden ("Above him the sky has suddenly opened into the cold of the cosmos") detracts only somewhat from a gripping work that goes to the heart of Muslim fanaticism and Pentagon intransigence alike. Aslam is a wonderful talent, and we are lucky to have him."
The publication of Paul Kildea's Benjamin Britten has up till now been overshadowed by his claims about the composer's syphilis, but reviewers were convinced of the book's many merits. According to *Rupert Christiansen* in the Spectator, it "is cleanly shaped and moves as swiftly and surely as the music it honours"; Kildea "has a fine sense of social and cultural context too. Writing with crisp urbane elegance, he displays an acute sense of his subject's convoluted psychology, and although he seems to become increasingly hostile to Britten as he gets older and more tetchily autocratic, he has no impulse either to debunk or sensationalise him … Kildea is nobody's patsy, towing an accepted line or bowing infatuated before an idol.""Above all," wrote *Barry Millington* in the Evening Standard, "he shows how Britten's deeply held social convictions (he was a committed Left-leaning pacifist) shaped his entire oeuvre … this is a masterly, highly readable account." The Independent on Sunday's *Frances Spalding* was also impressed: "if you have ever been touched by the magic of Britten's music, and want to perceive its alchemy, then don't miss this book."
guardian.co.uk © 2013 Guardian News and Media Limited or its affiliated companies. All rights reserved. | Use of this content is subject to our Terms & Conditions | More Feeds Reported by guardian.co.uk 16 hours ago.