Oscar wilde

Critics have argued over the meaning of the great golden flower head to which Van Dyck points in his ‘Self-Portrait with a Sunflower’. It probably symbolises the radiant majesty of the painter’s patron, Charles I, but for Van Gogh the sunflower ‘embodied and shouted out yellow, the colour of light, warmth and happiness’. In the Victorian language of flowers the plant denoted pride or haughtiness, but its tendency to turn its head to the sun led Byron’s abject Julia to use its image on a seal for her final letter to Don Juan with the accompanying motto Elle vous suit partout. The sunflower has been adopted as an emblem by

What is it about Naomi Wolf that inspires such venom? Perhaps that she’s American, brash, media-savvy and not averse to showing off her impressive embonpoint, which might go down badly in academe. But also — she makes mistakes. She made a pretty bad mistake in her very first book, The Beauty Myth, published in l990, by saying that 150,000 women died of anorexia in the US every year — whereas in fact she should have said 150,000 women suffered from anorexia. In this book, she seems to have dropped an even bigger clanger. Matthew Sweet started the ball rolling on his Radio 3 Free Thinking programme, when he told her

Legends cling to Bram Stoker’s life. One interesting cluster centres on his wife, Florence. She was judged, in her high years, a supreme London beauty. She preserved her Dresden perfection by denying her husband conjugal access. Bram consoled himself with warmer but more dangerous ladies of the night; such satisfactions came at greater cost than a few sovereigns. According to David J. Skal, a quarter of men of Stoker’s bohemian class (including all of those central to his book) were infected with syphilis. And Bram? Skal thinks so too. Florence Balcombe, when a young Dublin beauty, was courted by Oscar Wilde as well as Bram. Oscar she was not inclined

In 1927, while delivering the lectures that would later be published as Aspects of the Novel, E.M. Forster made a shy attempt to get to know his Cambridge neighbour, the classical scholar A.E. Housman. At first all appeared to be going well. After one lecture the two men dined together, and Housman told Forster ‘with a twinkle’ that he enjoyed visiting Paris ‘to be in unrespectable company’. Emboldened by this confession, Forster ‘ventured to climb the forbidding staircase’ that led to Housman’s rooms in Trinity College. The door was firmly closed against him. He left a visiting card; it was equally firmly ignored. What might have been the start of

The author of this jam-packed treasure trove has been a film critic at the New York Times since 2000 and is also professor of film criticism at Wesleyan University. As if these platforms weren’t enough, he’s now written a book about the tangled worlds of films, books, music, paintings and criticism, dragging in Aristotle, Pope, Plato, Matthew Arnold, Isaiah Berlin and millions of others — but not, alas, my former next-door neighbour, the wonderfully controversial Brian Sewell. Crammed in alongside George Orwell’s ‘All writers are vain, selfish and lazy’ and H. L. Mencken’s ‘Literature always thrives best in an atmosphere of hearty strife,’ the author’s own views often hit hardest.

‘Pray don’t talk to me about the weather, Mr Worthing,’ pleads Gwendolen in The Importance of Being Earnest. ‘Whenever people talk to me about the weather, I always feel quite certain that they mean something else. And that makes me quite nervous.’ Weatherland would make Gwendolen very nervous indeed. Our observations of the sky, Alexandra Harris reveals in this extended outlook, have always meant something else. Weatherland is a literary biography of the climate. Beginning with the Fall (in the Biblical rather than the autumnal sense) and ending with Alice Oswald, Harris condenses 2,000 years of weather ‘as it is recreated in the human imagination’. It is the weather-consciousness of