Culture Corner

Featured in print

Naomi Alderman-'The Power' (book)

All around the world, gradually, but universally- women are discovering a hidden power within them. This originates from a special organ situated just above the collarbone called the "skein"- which acts as a biological source of electricity. Women, and ONLY women, are born with the power: the ability to inflict electric shocks, ranging from the level of minor discomfort, to mysterious pleasure, to excruciating pain (and even death). 

It goes without saying, of course, that this throws a spanner in the works of the general social order established between men and women. Alderman focuses on the lives of a few characters in particular, with the narrative constantly switching to focus on each one at random. 

Such is the style of the novel that the reader finds themselves caught somewhere between science-fiction and feminist activism. In this new reality, women can be the perpetrators of great battles, yet in their next breath, they are the nurturing Mothers of children. Alderman's women are violently ruthless, yet profoundly emotive. Whoever decided that women cannot be both?

With such an original idea, imaginative attention to detail and an emphasis on the shared experience of gender, ‘The Power’ was a big hit for me. This is not a novel that deems women as the master-race, it is a novel about society, and the general injustices that we ALL face as a result of regarding one gender as the absolute authority. 

‘Shakespeare and Company’-(Book shop in Paris)

Crossing the bridge from the majestic site of Notre Dame, you are met with a literary sanctuary hidden amongst the busy, tourist-populated streets of Paris. It is the 'Shakespeare and Company' bookshop’, attracting tourists from all over the world, as well as dedicated collectors, and most recently- myself.

 The shop is luminous with strings of twinkling lights, the large window acting as a transparent portal to the shelves of books inside. Every day, the sign outside is decorated with a new quote, with extra shelves outside the shop displaying hoards of second-hand books, available for a handful of euros.

It was founded in 1951 by George Whitman, and since its opening day, the shop has acted as both a  mouthpiece and a literal refuge for the scholars of literature. Writers and artists have been invited to stay amongst the books, using makeshift beds, on the worthy conditions that they provide help at the shop, read exactly one book every day, and complete a short auto-biography of their experiences. Years later, a never-ending bank of these accounts exist, documenting the dreamy tales of aspiring  writers.

Following his passing in 2011, George Whitman has essentially left behind a safe-haven for creativity; a place that he deemed a 'socialist utopia masquerading as a bookstore.' It is a shop built upon the foundations of dedicated individuals, hoping for a future in the world of Arts. This poignant backstory makes it an essential landmark to any tourist, and indeed to any eager fan of books.

Amadeus- National Theatre (2018)

Peter Schaffer’s striking play returned to London this year, bringing with it a taste of melodramatic, orchestral Vienna. The production recounts the mental anguish of prestigious composer Salieri, faced with his biggest musical foe, and possibly the greatest natural talent that the world has ever seen: Mozart. Battling with jealousy, social conscience and the restraints of upper-class etiquette, Salieri must decide whether to let this new young flower bloom, or to remove him like a weed through cunning schemes.

To add to his frustration, it doesn’t help that the esteemed Mozart happens to be the most arrogant, whining and pathetically child-like creature that Salieri has ever encountered, welcomed among Vienna’s aristocracy simply due to his musical ability. Adam Gillen expertly captures Mozart’s cringe-worthy personality, which leaves the audience as much repelled by his nature as they are bowled over by his compositions. But the most impressive performance lies with Lucian Msamati, portraying a Salieri who is comic in his exasperation, wicked in his pursuit of power and desperate in his agony.

Each mesmerising scene is serenaded by the Southbank Sinfonia Orchestra, who instantaneously drop their instruments to become a raucous chorus of musical socialites. These flamboyant yet often haunting formations combine with elaborate scenery to build a picturesque illustration of 18^th Century Vienna. It was features such as these, combined with the compelling performances of the two leads, that made this production truly sublime to witness.