Over six years have elapsed since the release of Paul French’s debut as a writer of what publishers these days label ‘narrative non-fiction’ – a clumsy term inconsistent with the fluid, novelistic grace to which the genre characteristically aspires. That book, Midnight in Peking, attracted enthusiastic reviews and became an international bestseller. With an emphasis on evoking the personalities and the often rackety lives of its hitherto obscure cast, the book provides a gripping reconstruction of events surrounding the brutal murder of a young British woman living in Peking’s louche expat community in the 1930s.
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For #InternationalTranslationDay, a poem from @Lit_Review earlier in the year.
This 'jaunty narrative raises fundamental questions about the role of popular history. Should this just be a matter of telling tales, as the general public often seems to think?'
@DrLRoach weighs up Charles Spencer's account of the White Ship Disaster.
'Amis clearly belongs to the do-as-I-say-not-as-I-do school of pedagogy. More or less everything he says is demonstrably contradicted by elements of his own work, be they here or elsewhere.'