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From Philippe Sands to Simon Park: new books reviewed in short

From Philippe Sands to Simon Park: new books reviewed in short

Wreckers: Disaster in the Age of Discovery by Simon Park
According to Adam Smith in The Wealth of Nations, the discoveries of America and a passage to the East Indies by Columbus and Vasco da Gama were 'the two greatest and most important events recorded in the history of mankind'. What wasn't recorded quite so diligently were the disasters, privations, deaths and sheer haplessness that accompanied the 16th-century voyages into the unknown. In this rollicking but reflective account of those early sorties, the Oxford historian Simon Park presents an alternative view of the 'action-hero version of history'.
Wreckers is about the mariners who ended up 'kidnapped, stranded, abandoned and betrayed' in the pursuit of personal wealth and national glory and of the numerous attempts at colonisation that failed. Park is an adroit storyteller and makes the most of his picaresque stories, such as that of the German explorer Hans Staden, taken captive by the Tupinambá people of Brazil who kept him in a state of permanent fear with threats of eating him, and Martin Frobisher, who sought the North-West Passage but returned defeated with nothing more than a hold full of rocks. Empire-building, says Park, was not 'unstoppable' but uncertain.
By Michael Prodger
Viking, 368pp, £25. Buy the book
The Dream Factory: London's First Playhouse and the Making of William Shakespeare by Daniel Swift
Walking down London's West End, it's hard to imagine the capital without a single theatre. But theatre-less London did exist – until 1576 when the city's first ever playhouse was erected in Shoreditch. Daniel Swift's The Dream Factory traces the remarkable history of the aptly named playhouse, the Theatre, thanks to numerous litigations associated with the family behind it – the Burbages.
Without James Burbage and the Theatre two significant parts of the history of theatre would be missing: Shakespeare and the Globe. Shakespeare began his writing in the Burbages' playhouse. It was here that A Midsummer Night's Dream and Romeo and Juliet were written, and the son of James Burbage, Richard, is thought to have inspired many well-known Shakespearean characters. Deftly navigating social politics, the plague and preachers wishing for the Theatre's downfall, Swift tells its history in the most original way. The Burbages' dramatic life truly was well suited to their industry.
By Zuzanna Lachendro
Yale University Press, 320pp, £25. Buy the book
38 Londres Street: On Impunity, Pinochet in England and a Nazi in Patagonia by Philippe Sands
Calle Londres intersects Calle París in central Santiago. Once a place of the elite, it was revitalised by cultural and political figures in the mid-20th century. Calle Londres 38, after which the bestselling author Philippe Sands' latest book is titled, was an unassuming house – until the military dictatorship of Augusto Pinochet. Under Pinochet, Londres 38 was turned into the detention and torture centre of the National Intelligence Directorate (DINA).
Sands' 38 Londres Street is a gripping blend of memoir, investigative journalism and courtroom drama, with a narrative spanning decades and thousands of miles. It includes his own involvement as a barrister for a human rights organisation during the 1998 arrest of Pinochet in London, and his discovery of personal links to those affected by the dictator's regime and to the murders of Walther Rauff, the Nazi behind the gas vans used to kill thousands of Jews. Speaking to lawyers involved in Pinochet's later trial, Chileans affected by DINA's torture and disappearances and those who knew Rauff (after he settled in the city of Punta Arenas), Sands convincingly makes a connection between Pinochet's regime and the Nazi in exile. Most importantly, he shows why the dictatorship must not be tucked away into the past.
By Zuzanna Lachendro
Weidenfeld & Nicolson, 480pp, £25. Buy the book
The Fall of the House of Montagu by Robert Wainwright
On 24 January 2017, Alexander Montagu, the 13th Duke of Manchester, was sentenced to prison in Nevada for a melange of offences. He served 14 months in jail. Shortly before he committed a burglary, in 2016, he made a visit to his ancestral seat, Kimbolton Castle, and visited the family crypt, where his father and grandparents are buried. He was only a guest, however: the estate is now the home of a public school.
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'How did it come to this?' you might ask, and if you did Robert Wainwright is your man. His new book closes with Alexander's sorry tale, the most recent tragedy in the decline and dissolution of a family first granted land by William the Conqueror. In some ways the story is typical: financial troubles thanks to mounting death duties; American heiress wives imported to maintain solvency; the eventual sale of the estate in a changing postwar landscape. But the Montagu story provides enough diverting specificities – bankruptcy, gambling dens and colonial exile – to make this a dramatic and pathos-inducing read.
By Nicholas Harris
Allen & Unwin, 352pp, £22. Buy the book
[See also: Joan Didion without her style]
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Oh … review – underwater piano playing serves up a skilful aquarium spectacle
Oh … review – underwater piano playing serves up a skilful aquarium spectacle

The Guardian

timean hour ago

  • The Guardian

Oh … review – underwater piano playing serves up a skilful aquarium spectacle

It is hard to tell what the fish make of Mikel Murfi's intrusion into their deep tank at the Salthill aquarium. Surrounded by rocks, he arranges himself in a sun chair on a small, raft-like deck. Breathing through a long curved tube, an oxygen tank tucked beneath his white shirt, he seems utterly self-sufficient, like a shipwreck survivor, lost in his thoughts. It is a startling opening to a 45-minute piece that would be called performance art in a gallery. On a bank of seats facing the three-metre-high glass tank, the small audience surveys the specimen in front of them. A dizzyingly inventive physical performer and director, Murfi often collaborates with other theatre, dance and opera artists. Here his director is Kellie Hughes, with designers Sabine Dargent (set) and Sinéad Wallace (lighting). While it seems to flow dreamily, this arresting new work they have created with Loco & Reckless Productions and Galway international arts festival relies on pinpoint precision and skill. It is only when Murfi's Robinson Crusoe-like character completes his fastidious weightlifting routine that he pays attention to the teeming life around him, as swarms of fish approach him – bream, wreckfish and starry smooth-hound sharks, according to the programme. To a soundtrack of honking traffic, he playfully conducts the fishes' darting movement. Later he plays piano in the water, the accompanying music evoking memories that seem linked to a past loss. Face down, rolling and gliding like an astronaut, he is riding waves of grief. Declan Gibbon's string and percussion score surges, as an agitated Murfi shines a torch through the glass at us, searchingly. As the tempest subsides, he undulates and floats, now with an affecting sense of surrender or acceptance. With the fish encircling him as he swims, he has undergone 'a sea change, into something rich and strange'. At Galway international arts festival until 26 July

Mountaineering Women by Joanna Croston review: 'In the way of every good woman, there's always a man'
Mountaineering Women by Joanna Croston review: 'In the way of every good woman, there's always a man'

Scotsman

time6 hours ago

  • Scotsman

Mountaineering Women by Joanna Croston review: 'In the way of every good woman, there's always a man'

When female mountaineers refer to hostile conditions, it might not be just the rockface they are talking about, writes Roger Cox Sign up to our Scotsman Rural News - A weekly of the Hay's Way tour of Scotland emailed direct to you. Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Readers of two-score years or more will probably remember Jürgen the German, one of the more out-there characters from the 1990s BBC2 sketch show Harry Enfield and Chums. Played by Enfield in a tousled blonde wig and garish multicoloured anorak, this confused young tourist, holidaying alone in the UK, was forever being overcome with guilt for the crimes of Nazi Germany, and​, having attempted to engage complete strangers in toe-curlingly awkward conversations​, would ​always end up making ludicrously over-the-top apologies for 'ze conduct of my nation during ze vor.' Juliana Garcia | Roberto Espinosa Fernandez Well, any men planning to read Joanna Croston's fascinating new book Mountaineering Women​, which tells the stories of 20 inspiring female climbers from Gwen Moffat (b.1924) to Brette Harrington (b.1992), supported by a carefully-curated selection of jaw-droppingly good photography, should expect to feel a bit like Jürgen​, and be prepared to do a lot of apologising for the conduct of their sex during the last 100 years or so​; because if there's one common theme linking many of the remarkable athletes in its pages together, it's the fact that their endeavours were either obstructed, misrepresented or otherwise hamstrung by men. In fact, if there's any truth in the saying that 'behind every great man there's a great woman', then on this evidence perhaps it's also true that standing in the way of every great woman there's usually at least one man, and very often more than one. READ MORE: Ten books about the outdoors to read this summer Advertisement Hide Ad Advertisement Hide Ad Take, for example, the incredible and also incredibly frustrating story of Ecuadorian climber Juliana Garcia (b.1984). Having made her first trip to Peru at the age of 17, and fallen in love with the mountains of the country's spectacular Cordillera Blanca, she set her sights on becoming a certified mountain guide. As Croston explains, however, once she'd started training with her home country's official mountain guiding organisation, the Association Ecuatoriana de Guias de Montana (ASEGUIM), she quickly discovered that 'the rules would be different for her and her male counterparts.' Still, in spite of the fact that 'some of her fellow guides felt that things were made intentionally more difficult for her' during the course, in an environment where 'an atmosphere of machismo reigned supreme', she put her head down and gained her guide's certificate. Juliana Garcia on Huandoy | Jarrin Unfortunately for Garcia though, it turned out the ASEGUIM wasn't recognised outside Ecuador, so if she wanted to work as a mountain guide elsewhere – including in her beloved Cordillera Blanca – then she would need a qualification from either Bolivia, Peru or Argentina, all of which had training programmes recognised by the International Federation of Mountain Guides (IFMG). So, ​undeterred, she travelled to Bolivia and entered their intensive three-month training programme. By this point, she had already established a new route on 6,070m Huandoy Este in Peru, recognised as a notable ascent by the committee of the Piolets d'Or in 2013, but her golden ice axe didn't cut any ice with her new instructors. 'They had never had a female candidate before,' Croston writes, 'and when it came time for the graduates to be announced, Garcia was ignored and, to her dismay, realised she had failed the training. Her instructors gave her no indication of how close she was to passing, nor did they provide feedback on what skills she needed to work on.' Still, Garcia had the last laugh: two years later she was elected president of ASEGUIM and, thanks to reforms she implemented, by 2017 Ecuadorian mountain guide training had been recognised by the IFMG, who awarded her an official guide's pin the same year. She has since led climbing groups all over South America, as well as in Greenland, the USA and Greece. Alison Hargreaves on Katenga | Mark Twight Other women in Mountaineering Women whose progress has in some way been hindered by the actions of men? Take your pick from Pasang Lhamu Sherpa, the first Nepali woman to climb Mount Everest, who, as the only girl in a family of boys, was not permitted to go to school like her brothers, and had to leave home as a teenager in order to avoid an arranged marriage and pursue her climbing dreams; or Alison Hargreaves, the British climber pilloried by a (male-dominated) press for climbing the north face of the Eiger while five months pregnant and then 'isolated by a jealous male climbing community', as Croston puts it, after completing her ambitious 'Six Faces' project in the Alps in 1993; or ​indeed Gwen Moffat, who became the first certified mountain guide in Britain in spite of 'rampant discrimination against women in the men's world of climbing' and in doing so 'set an adventurous blueprint for other women guides to follow.' Advertisement Hide Ad Advertisement Hide Ad If the mountaineering women in this book are all brave, resourceful and almost supernaturally determined, then the men (with a few notable exceptions) mostly serve the same narrative function as cornices, bergschrunds and overhangs – that is: obstacles to be overcome. Perhaps in the next 100 years we can do better. ​

Historic King's Lynn theatre to get £30.5m refurbishment
Historic King's Lynn theatre to get £30.5m refurbishment

BBC News

time7 hours ago

  • BBC News

Historic King's Lynn theatre to get £30.5m refurbishment

A £30.5m project to redevelop the UK's oldest working theatre into an international visitor attraction has been stage at St George's Guildhall in King's Lynn is thought to have once hosted Shakespeare Norfolk councillors voted by 35 votes to 12 to approve plans to preserve the venue and develop surrounding medieval buildings and opponents were worried the authority may have to fill a £16.8m funding shortfall, with one describing the project as "high risk". The plans, which include a museum and educational space, were voted on by West Norfolk Council's cabinet leader Simon Ring, a member of the Independent Partnership group, said the project was "about the soul of our town".He said: "The Guildhall is not a project. It is a responsibility." His speech was peppered with quotes from Shakespeare's plays and was applauded by members of the public. Independent councillor Alun Ryves criticised the "callous way" the scheme was being presented. He said: "It fails to offer value for money. It is very, very high risk plan."Ryves said he had calculated the project would cost each resident in the borough £ councillor Richard Coates said he voted against the project because of the funding gap. Coates added: "I've never heard of a major capital project which hasn't ballooned in terms of time and costs. "There is no reason to think this one will be different." Labour councillor Deborah Hennigan said she had struggled to make a decision. "I have huge concerns about the level of spending. "This represents the biggest spending decision this council will ever take."But she said, on balance, she would vote for the scheme. Green Party councillor Michael de Whalley voted for the said the process to get to this point had been "tortuous", but he praised the green credentials of the new building, which will include a heat pump and solar panels. Reform group leader Julian Kirk said he too was worried about the cost and voted against the project. Sharon Fox runs King's Lynn Young Players, who are already involved with the Guildhall renovation project. She said: "We're already reaping the rewards of working closely with the project to provide us with space and opportunities, so for me it is really a light in the future of King's Lynn." Leslie Judd, trustee of the King's Lynn Players, said he went to the council meeting to show his support for the renovation. "We are so thrilled that the result is how we would want it to be because we work with the children and the children are the future of theatre," he said. Follow Norfolk news on BBC Sounds, Facebook, Instagram and X.

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