Faber & Faber

It is difficult to imagine a more satisfying long-form narrative about pop music than Yeah Yeah Yeah. Although the book runs to almost 800 pages, British author Bob Stanley writes with such authority and infectious passion that the momentum never skips a beat. Beginning with the first British hit parade and the popularisation of the electric guitar, Stanley traces the arc through to modern forms such as dance and hip-hop while fulfilling the role of tour guide. He takes the reader through a museum of pop music, pausing before significant artefacts to offer erudite commentary, and encouraging the reader to don headphones and experience the sounds of each era.

It is a theatrical truism that Samuel Beckett remains good box office: the Sydney Theatre Company recently announced its intention to take the 2013 production of Waiting for Godot to the Barbican in 2015, with the original cast. Another truism – adapted from a remark once made by Edward Albee – is that at any moment a Beckett production occurs somewhere in the world. The centenary of his birth in 2006 gave renewed focus to this sustained interest in Beckett’s work, but the Blue Angel/Gate Theatre Beckett on Film Project of 2001 and James Knowlson’s authorised biography of 1996, Damned to Fame, helped set the tone for this new wave of popularity.

The concert pianist Alfred Brendel is one of the leading twentieth-century interpreters of music, with a special interest in the German repertoire. When he retired in 2008 after six decades of performing, he did so not through loss of stamina, but because of crippling arthritis in his hands. Brendel continues, at eighty-three, to teach, lecture, and write. (His poetry collection, Playing the Human Game [2011] contains one of the most damning attacks on that well-known pest, the concert cougher.) A Pianist’s A–Z explores his personal relationship with the piano. It covers the classical repertoire, offering insights, asides, reflections, and the occasional and excruciatingly corny joke.

In Bark’s second story, ‘The Juniper Tree’, an unnamed narrator sings ‘The Star-Spangled Banner’ with calculated slowness to alter ‘not just the attitude of the song but the actual punctuation, turning it into a protest and question’. Lorrie Moore’s writing career to date strikes a similar counterbalance between form and content: irrepressible linguistic exuberance tempers – and sometimes even succeeds in confuting – an essentially saturnine world view.

John Carey’s The Unexpected Professor: An Oxford Life in Books has three intertwined components: autobiographical memories from Carey, a prolific author and book reviewer and former Merton Professor of English Literature at Oxford; his six-decade interaction with that university; and ‘English literature and me, how we met, how we got on, what came of it’. The book is also a microcosm of twentieth- century Britain and its educational, intellectual, and class systems. Carey, born in 1934 into a far from wealthy family, benefited from the grammar school system that enabled him to win a scholarship to St John’s College, Oxford, where he gained a congratulatory first in English.

1984 is back. George Orwell’s nightmare vision of governmental surveillance, secrecy, and deception clearly resonates with the revelations first leaked to the Guardian by former National Security Agency (NSA) contractor Edward Snowden. Indeed, it is practically impossible to find an account of the Snowden affair without at least one ‘Orwellian’ adjective dropped into the mix. Sometimes it comes qualified: Justice Richard J. Leon, District Court Judge for the District of Columbia ruling in December 2013 that the bulk collection of US mobile phone records was probably unconstitutional, called the NSA program ‘almost Orwellian’. This decision is currently under appeal.

In the 1960s she was deemed an Irish Jezebel. After the publication of her début novel, The Country Girls (1960), the local postmistress told her father that a fitting punishment would be for her to be kicked naked through the town.

Anyone lucky enough to have read Arguments with England (2004), the first volume of Michael Blakemore’s memoirs, will be eager to read the second, Stage Blood, in which he traces the tumultuous history of his years at London’s National Theatre. Further, anyone as lucky as I was to see such productions of his as Long Day’s Journey into Night in 1971 will be agog to read the new book in the hope of insights about their genesis. Such people will not be disappointed.