The Lord Treasurer of Botany; Sir James Edward Smith and the Linnaean Collections, Tom Kennett

The Lord Treasurer of Botany is the first full-length biography of Sir James Edward Smith, something of an unsung hero in the world of botany. Born the son of a Norwich textile merchant he was on the path to becoming a physician when he made the fortuitous acquisition of the collection of Carl Linnaeus, an influential eighteenth century botanist, physician, and zoologist. For appearances’ sake he continued with his studies but botany had won his heart and he had every intention of making it his life’s work. He founded the Linnaean Society in 1788, an institution still in existence today, and one that was central to scientific study in the nineteenth century.

Smith was often unwell and had a weak constitution but could be intrepid and determined when the need arose. He did not suffer fools lightly and had a number of very public disagreements with other prominent figures. His defining legacy is described as his binomial system and standardization of terminology, which proved to be a great contribution to botanical study. He published a number of works, most notably his mammoth set of volumes, English Botany, produced over a twenty-year period with James Sowerby. Smith’s concise descriptions paired with Sowerby’s hand-coloured plates opened the subject to a broader audience than previously.

This biography reveals not just the scientific contributions made by Smith but also the colourful life he led. He lived during such pivotal moments in history as the French Revolution, and this wider historical context is woven neatly through the narrative. The book is firmly rooted in documentary evidence, despite the lamentable fact that his wife Pleasance destroyed most of his personal correspondence after his death. Overcoming this loss, Kennett succeeds in illuminating the character of this determined, influential figure.

Don’t Point That Thing At Me, Kyril Bonfiglioli

Don’t Point That Thing At Me is an irreverent romp through the seedier side of London’s art scene with the foppish Charlie Mortdecai as our guide. Written in first person narrative Mortdecai often speaks conspiratorially to the reader, including us in in-jokes that we can’t always understand, suggesting that we would agree with some of his morally questionable opinions. He is cocky, wealthy, and judgmental – attempting to trick those he does not like into revealing their ignorance of the finer things in life. What he lacks in physical aptitude is balanced out by his manservant/live-in thug Jock. He seems to be one of the few people that Charlie has any lasting affection for and in some scenes their relationship has moments rather surprisingly bordering on tenderness.

The plot is somewhat all over the place as Charlie crosses continents in an attempt to deliver a stolen Goya. He proves himself to be inept and cowardly at times, Jock displaying unshakable loyalty as they find themselves in rather sticky situations. There is so much that is farcical in their tale that the moments of sincerity are often mistrusted.

Despite the alcoholic, misogynistic narrator whose belief system would have been outdated at the time of original publication, you can’t help but smile at moments while reading this. His brazen behaviour in the face of his nemesis Inspector Martland and the simple yet cunning techniques he uses to cover his crimes are amusing. There’s just about enough intrigue to keep your interest but the story arc is not strong enough to be truly gripping. Humour, snobbishness, and peril abound in this easy, light read that isn’t likely to linger long after reading.

A Little Life, Hanya Yanagihara

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The opening chapters of A Little Life introduce you to four talented young men on the cusp of adulthood – William, JB, Jude, and Malcolm. In these early passages we are given snippets of their past lives, the roots of some of their insecurities, and a glimpse of the concerns and preoccupations that they struggle with. There is a certain focus on the forming of identity and their uncertainty of who they are and what they want to become. It is clear that they have come through some difficult times but it is nonetheless jarring when Jude, who remains something of an enigma throughout, comes to Willem in the middle of the night, bleeding from a self inflicted wound.

The story then begins to focus in on Jude with Willem the main supporting character, JB and Malcolm melting away into the background. That night we are introduced to Andy, Jude’s long-term doctor and friend. Certain recurring issues make their first appearance in these scenes. One aspect of the novel deals with responsibility – Andy’s ongoing dilemma as to whether or not he should have Jude committed, Willem’s responsibility to Jude, an unspoken understanding between the group of friends that he is the one who can help him best, and Jude’s own responsibility to those who love him, even if beyond his comprehension.

As the novel progresses we witness flashbacks to Jude’s youth, slowly revealing the abuse he survived, and giving us an understanding of how he has been shaped. It borders on frustrating to begin with – his self-deprecation when he is clearly loved and admired by those who know him. This frustration quickly evaporates when we come to know what he has been through and how remarkable he is. We see him struggle to open up to people, to understand that he can be loved. We also see his desire for control informed by the feeling that he has never had much, the sense that life is something that happens to him without him playing an active role. His physical injuries add to this and he attempts to hide how much he suffers and the potential help he will need as his condition deteriorates. This need for control in part manifests itself in his self harm and reluctance to accept help.

Jude’s story is devastating but it is not without its positives. He is incredibly successful, he inspires great devotion from Willem and Harold, his once teacher who becomes personally close. In a fascinating interview with Yanagihara in the Guardian she claims this was intentional, that everything is heightened. Yes, there are many incredibly upsetting scenes and detailed violence, but this is balanced by an excess of love and success. This deliberate exaggeration is rare in contemporary novels, but while the novel holds you in its thrall the technique feels entirely appropriate.

The story of Jude’s endless struggle to cope with life and intimacy, to attempt to come to terms with what has happened to him, will break your heart several times over. It is a consuming tale that will stay with you long after the final page. The characters feel alive and the closeness forced upon the reader is brutal but important. It does not allow you to look away or expect a quick fix and this makes it very real. An utterly devastating, brilliant read.

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Sunken Cities: Egypt’s Lost Worlds, British Museum

The lost cities of Thonis-Heracleion and Canopus once lay at the mouth of the Nile. They were  submerged over a thousand years ago in a similar fashion to the fate that threatens Venice. The British Museum’s latest major exhibition showcases items excavated by Franck Goddio and team from the site of their resting place in the depths of the Mediterranean. The museum’s vast exhibition space has been decorated in turquoise and blue to emulate the water that many of the items emerged from, a constant soundtrack attempts to add to the atmosphere. Vast statues stand proudly dominating the space, a quite remarkable sight, especially considering how well preserved they are after centuries in their watery grave.

Large sculptures highlight each room but there are many smaller, more every day items, which they attempt to use to reveal more about the culture and interlinking of Roman, Greek, and Egyptian custom. Barely ten percent of the remains have been excavated and a tinier proportion still are on display. The exhibition is padded with items from the museum’s own collections as well as some from further afield, a water symbol on the labels clearly identifying those from the excavation site. They attempt to bring to life the bustling cities that they were in their prime; Thonis-Heracleion holding a position of importance in the commercial world, and Canopus more focused on the worship of Egyptian gods. It becomes clear that their positioning on the Nile afforded many opportunities, but also that they tried to emulate civilisations that had come before in order to add legitimacy to their own.

The exhibition is genuinely breathtaking in its earlier stages and an introductory video details the amazing discovery of the lost cities, heightening the curiosity. Short videos and photographs are dotted around the space showing objects in situ and in the process of being recovered, giving them context beyond the walls of the museum. Attempts have been made to make Sunken Cities family friendly with separate exhibition notes and activities. There were a number of children visiting at the same time and their reactions suggest this was a welcome addition.

Coming to this exhibition with little to no knowledge of the cities and their discovery, and only a basic knowledge of the period covered, it is engaging and informative. If I had one gripe it would be that the labels in some sections were too repetitive – a fact that would doubtless have been more exasperating for a more knowledgeable visitor. Sunken Cities gets off to an impressive start but loses its way slightly by the end. Nonetheless, this is an exhibition which affects in a way I’ve not experienced before. If you can get beyond issues with the sponsor it’s definitely worth a visit.

Sunken Cities is at the British Museum until 27^th November 2016.

Fire! Fire!, Museum of London

The Museum of London's immersive new exhibition on the Great Fire of London opened last month to mark 350 years since the disastrous event took place. The exhibition space is darkly lit, a fake London street has been partly constructed, genuine artifacts adding to the authenticity. Fire! Fire! has been designed to appeal to all ages with plentiful activities throughout and simple questions to help children engage with the topic. They have the balance right - it may be accessible for young visitors but it does not feel like a children's exhibition, having plenty to offer adult guests. The layout is logical, taking you through how the fire started, what happened while attempts were made to put it out, and finally the aftermath. It leads the visitor to ask questions that are answered later in the exhibition, a solid technique.

The enormity of the fire is really brought home as you walk through the space. The timeline detailing the major events in the spread and curtailment of the fire and the map of London being consumed by (virtual) flames evokes the seriousness and horror of the inferno. The firefighting equipment on display highlights their ineffectiveness against such a blaze when all conditions aligned perfectly for its rapid spread. The section designed as a camp for the tens of thousands made homeless feels claustrophobic, the devastation it wrought on those who were in the most part without homes for eight years is palpable.

Overall a very well put together exhibition which successfully takes such a well known event and adds to it, dispelling many a myth along the way. There are items on display that were salvaged from the wreckage with x-rays to give a clearer view, but a highlight for me were the designs proposed for a new London. The rebuild was controversial for its dedication to the original road layout -  a topic that continues to be hotly debated by historians today.

Atmospheric, original, and informative, this is definitely worth a visit. Fire! Fire! will be at the Museum of London until 17th April 2017.

Wilderness Festival, 4th-7th August 2016

Sunset over the campsite on the first night

Over a long weekend in August Cornbury Park's ancient woodlands were transformed into a playground for adults and children alike. Thousands descended on this peaceful Cotswold estate for Wilderness Festival 2016. Revellers enjoyed the refreshing cold of the lake or stayed safely in the boats gliding along the surface if they did not wish to brave a bracing swim. Wandering the main festival site snippets of debates and talks escaped from marquees, latecomers lounged in the sun nearby, raucous laughter erupted, the strains of music could be heard, and the smells of a wide array of street food constantly tempted the tastebuds.

The Atrium

With talks ranging from Artificial Super Intelligence  to Brexit, the  Brontës to dinosaurs, it proved a hard job choosing where to spend the days. The Atrium became a hub for the arts - dancers from top companies gracing the stage that moments before had been inhabited by excited toddlers. It also played host to a Disney singalong, a pop-up cinema, and a Bowie tribute concert. Variety and quality are the hallmarks of this festival that celebrates all things culture.

Making good use of the natural beauty of the surroundings, the Oxford Shakespeare Company performed an excellent, concise version of Love's Labour's Lost. There’s something quite magical about being led into the woods for an afternoon in the sun watching talented actors perform without all the modern theatre technology we are accustomed to, bringing us closer to the way original audiences would have experienced the play.

The annual Wilderness cricket match

Sunday morning saw the annual Wilderness cricket match, an event in which almost anything goes. Amusing commentary, players casually drinking on the field, and twenty-two streakers (which was eight off the current Wilderness record), this was not your average cricket match. Play itself was not without its appeals however, the Remainers plucking victory from the Brexiteers’ grasp in a nail-biting conclusion.

The Valley

As the sun set there was plenty to distract from the evening chill. Nouvelle Vague, stepping in for Daft Punk on the Atrium stage were a definite highlight. Their high-energy performance had the whole crowd dancing. Sadly, the headliners on Sunday did not quite achieve similar. The staging of the Flaming Lips’ set was visually impressive – colourful and unusual (a curtain of lights obscuring the band for the most part). Wayne Coyne’s performance lacked the energy needed however, and he struggled to hit the high notes. There was plenty for night owls to enjoy beyond the main stage; from the Folk Barn to the Valley – an intense experience of pounding music, lasers, and a huge crowd partying deep within the trees. No piece about Wilderness would be complete without mention of the Saturday Night Spectacle which this year featured tightrope walkers performing feats that made my stomach churn just watching them, illuminated performers providing a soundtrack on the field below.

As the forest and lights fade the memories will not. Wilderness provides the opportunity for all to enjoy losing themselves in nature – to think, to dance, to be free, if only for a weekend. 

The boating lake

To Kill a Mockingbird, Harper Lee

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Lee’s acclaimed novel is told through the eyes of young Scout Finch. The prevailing public perception of the novel is that of the trial of Tom Robinson for the rape of Mayella Ewell. This does form the centrepiece, and by far the most gripping section of the novel, but the majority of the book is devoted to constructing the environs that Scout and her brother Jem inhabit. This is more than mere scene setting, it is essentially the heart of the novel. In giving so much time to the every day Lee allows a deep understanding of the kind of society the events happen in, so constricted by a sense of the way things should be, blind to the potential benefits of allowing some deviation from the ‘norm’.

To Kill a Mockingbird is in many ways a coming of age novel. We see Scout wrestle with the expectations and unknowns of growing up – from her first day of school where she is told she must stop reading until she reaches the designated year to wondering at Jem’s change of behaviour as he reaches puberty. She is constantly being told how she should behave - Jem and their friend Dill laugh at her for acting like a girl and she also has to contend with the opposing pressure of Aunt Alexandra who is shocked at her perceived lack of appropriate female behaviour. The roles and expectations of people in society is a theme that arises throughout the novel whether it be the Finch’s reclusive neighbour Boo Radley, Scout as a young girl, Tom Robinson, or Atticus Finch, Scout’s father and of high regard, they are encouraged to conform to the roles and behaviours expected of them.

Atticus is painted as a moral figure, facing the backlash of his peers for taking on Tom’s case. The fact that he is doing so because the judge chose him to is somewhat brushed over but can leave the reader a touch disheartened. Be that as it may, he does a fine job, indicating that he is not as close minded as many of the others who would not necessarily have done their best in a similar situation. The trial itself is intense and incites outrage in the reader at the injustice. By setting the Ewells, a family shunned by the neighbourhood, against Tom, Lee skillfully emphasizes just how bad the prejudice is and how little hope there was.

Scout and Jem are witness to the trial and their reactions are an important indicator of the morals they will take on. This exposure to injustice strips them of their innocence and is a significant moment in their transition toward adulthood. It is telling that Scout can pick up on the hypocrisy of the adults condemning the prejudices of Hitler’s actions whilst happily sending an innocent man to his death for nothing more than the colour of his skin. The use of a child narrator adds to the poignancy of the tale.

It is always interesting encountering such a well-known story for the first time. Less of the book is given to what I’d always believed to be the main thrust of the novel, but it is in these other sections that the characters and settings are built, and the themes are dealt with more subtly. It also serves to show the characters who could easily be condemned for their prejudice as human, and as the norm. The world may have moved on (to an extent) but this story is still relevant, and Lee’s writing remains gripping.

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