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First night review: Agamemnon

Aeschylus’ Clytemnestra (here played by Kassandra Jackson) is a perfect example of Hall’s Law of Greek Tragedy: “women who don’t get bonked go bonkers”. Incensed by her husband Agamemnon (Tom Mackenzie)’s sacrifice of their daughter to guarantee a favourable wind to Troy, Clytemnestra takes advantage of his long absence to seize control of the city, extending silken threads of power that allow her to avenge her daughter’s death on his return.

The first thing which strikes the audience about this play is its appearance. The director’s brave decision to clad all her actors in masks leaves them somewhere between Greek vase paintings and deranged Disney cartoons; it provides a connection to the history of the play and vividly underlines the personalities of Aeschylus’ characters. Excellent use is made of a Playhouse stage left almost naked but for a large central door and powerful lights to focus our attention on these uncanny characters.

While it may be a truism to say that bright lights of the Playhouse can both illuminate and bring out flaws, it is also true. It is likely that almost all of the actors will have found this one of the greatest challenges of their career. They must perform in a language that is native to none of them, and with the added handicap of masks which force them to act entirely with their bodies. Especial strain is placed upon the chorus, and they sometimes struggled to rise to the challenge. The decision to give Aeschylus’ own metre a back seat, setting the choruses in a style that will be more familiar to attendees of the Oratory than students of the Attic Orators might have brought dignity. In reality it gave effects that were sometimes bathetic (some falsetto sections caused outright laughter) and always lacked the rhythm necessary to keep the dancing members of the chorus in time.

On the other hand, some performances were so enthralling that all such considerations, not to mention supertitles, were ignored in favour of the unfolding spectacle. The Herald (Raymond Blakenthorn)’s physically vivid and tonally varied performance perfectly mingled the bitterness of war with the sweetness of the return. Cassandra (Emma Pearce)’s almost sexual subjugation to Apollo, swinging from the ecstatic to the terrified, inverts the famous line ‘learning through suffering’ to show us a woman who is suffering through what she has learnt. The audience, wrapped in the Aeschylus’ rich irony, empathises completely. Unfortunately Clytemnestra, who should be the central presence of the play, showed significantly less vocal and physical range than other characters. Whether through a desire to underline her constant dissimulation or simply because of the difficulties of projecting through a full mask the audience was left with an impression of very small spider at the centre of a very large web.

Despite this, Agamemnon turns out to be larger than the sum of its parts, and some of these parts are great in themselves. Individual weaknesses are the exceptions in a good performance of a great play that holds its audience spellbound for over two hours. Classicists must see it; for all others it is highly recommended.

 

Interview: Johann Hari

An Orwell Prize Winner in his twenties, Johann Hari is a model of what aspiring young writers can become. He started writing for the New Statesman soon after leaving university and by the age of 23 had a twice-weekly column in The Independent.

Despite his rise, he is cautious in his understanding of what someone in his position can achieve. He speaks, in our quiet Aldgate café, of two types of political columnists: those “who think they’re talking to politicians and ones who think they’re talking to the readers.”

He recounts a story of former Times columnist Antony Jay: “A reader wrote to him and said, ‘I didn’t understand what you were saying,’ and Jay wrote back to him – ‘Since you’re not the Prime Minister, the Chancellor of the Exchequer or the Governor of the Bank of England it doesn’t matter whether you understood what I was saying. It wasn’t written for you.'”

So Hari understands that to effect change, he must persuade readers and put them in touch with pressure gorups. “Some of the things that I say aren’t things you’d normally read in a newspaper. A lot of times people write to me and say ‘Oh I’m so glad, I thought I was mad for thinking like that but actually now I realise it’s quite a rational thing to say’.”

But in the era of podcasts and blogs, is his role as a traditional newspaper columnist under threat? Not only are newspapers seeing their circulation and profits drop, but their authority as the nation’s news-breakers is being cut away by every internet exclusive.

He claims not to be worried by the financial future of the press: “I cannot make newspapers more economically viable than they are. So, I don’t spend a huge amount of time sweating about it”.

Hari is combative regarding the relative quality of new and print media: “When blogs first began I thought they would be like columns: with a fairly rational argument. I thought the medium they would most resemble would be column writing. Actually I think the medium they have ended up most resembling is talk radio. It’s consumed in small bursts and there’s a premium on aggression, shouting and being more extreme than the last person.”

He bemoans the declining standard of Nick Cohen and Melanie Phillips’ writing: “People who actually write blogs are quite atypical of your readership, but someone like Nick Cohen gets congratulated for his most right wing views by blogs, so he will air them more and more and get more and more positive comments. It’s like a sort of electronic circle jerk, where you get trapped in it.”

True newspapers boast not only quality control but also the willingness to pay to send writers across the world to report, something Johann recently did in Bangladesh. His experience of the impact of climate change left a deep impression. He talks of seeing trees emerging from the sea where just two years ago there were houses. “The biggest island in Bangladesh has lost half its mass in the last decade”.

A creative analogy demonstrates the nature of the threat and the imperative to deal with it: “Imagine if tomorrow we discovered that Osama bin Laden had a machine that could flood some of the most important global cities, make the oceans more acidic, cause the ice caps to collapse and drown Bangladesh.

“Then we’d do everything we possibly could to stop Osama bin Laden from using this machine. We are that machine. We are doing that. But somehow it’s not personified in the form of an enemy. If it’s all of us doing incrementally it’s much harder to deal with.”

He mentions Bill McKibbin, an American environmentalist author who explains human inability to deal with climate change as a function of evolution: we are not evolved to think that “we do the weather to ourselves”.

Our conversation moves on to another man-made disaster, according to Hari, the ‘War on Drugs’. Opposition to drug prohibition crosses traditional ideological lines, including libertarians and conservatives. Hari, a self-proclaimed social democrat, is another joining the calls for legalisation.

“There was a great line of Milton Friedman, not someone I’d normally quote approvingly: ‘Drug addiction is always a tragedy for the individual addict but drug prohibition makes it a tragedy for the whole society’. Drug prohibition causes more problems than drug addiction. It doesn’t actually stop very much drug addiction.

“We know that in the US when, in the 1970s, they decriminalised cannabis in three states, cannabis use did not go up, it stayed the same. We also know that countries that are the most prohibitionist, like the US and Britain, have more drug addicts than liberal countries like the Netherlands.”

But this is an issue in which the actual words used by those advocating reform are working against them. “If you look at the opinion polls, in the Daily Mirror for example, the word ‘legalisation’ gets very little support. If you ask people if they support legalisation about 10-20% of them do.

“If you ask them ‘Do you think drugs should be taken away from criminal gangs and handed to off-licenses and pharmacists?’ about 80% of people say yes. So I think the word ‘legalisation’ has a certain contamination around it. Which is unfortunate.”

Consistent in his other views, Hari has radically changed his mind on the Iraq War. In the months leading up to the invasion, he was one of a number of left-leaning writers who supported the removal of Saddam Hussein. But almost six years later, he regrets his initial position.

“What I got horrifically wrong and should have known in advance, as some people did, was that because the American invasion was motivated primarily by a desire to monopolise the oil resources it would be an invasion that was run in the interests of the oil resources, not in the interests of the Iraqi people.

“If you look at what happened in Venezuela, another country I’ve reported on, a year before the invasion they [the US] supported a coup against Hugo Chavez, the democratically elected President, because he was trying to control the oil supply himself, and use the profits not for American multinationals but to enrich people in the barrios [slums]. So I should have looked at evidence like that.”

In abandoning and apologising for his pro-war position, Hari has parted company with Christopher Hitchens, the man whom he credits with inspiring him to become a journalist after his denunciatory ‘The Missionary Position: Mother Teresa in Theory and Practice’ was published in 1995. “I remember being absolutely exhilarated by it and thinking ‘well I want to do this.'”

Hari’s secularism is as strident and assertive as that of Hitchens. “70% of the British people never attend religious ceremonies. But the people who are religious are very concentrated. 70% of British people think faith schools should be abolished, but the 30% who support them really really fucking support them and if the faith school is shut down will go crazy and lobby and hold protests.

“Whereas the 70% who are against them are just mildly against them because they’ve got better things to do with their lives because they’re not superstitious lunatics.”

With his witty writing and combative agenda, Johann Hari shows us that real, traditional column writing is alive and well.

 

Second Look 1st Wk: Burial at Thebes Exhibition

‘The Burial at Thebes’ opera will be at the Playhouse on Sunday 19th October at 7.30pm.

The exhibition of Walcott’s sketches is at the Stelios Iannou Centre for Classical and Byzantine Studies on St Gile’s (just behind the Ashmolean museum).

5 Minute Tute – The EU Crunch

United Kingdom

After vacillating for months on Northern Rock before deciding to nationalise, this time Gordon Brown has impressed with his swift actions. After abrupt drops in the share prices of RBS and HBOS on October 7th, Brown announced a three-part plan to relieve the economy.

The Treasury will offer £50bn to banks in exchange for shares; the Bank of England will double the size of its liquidity program, stockpiling £200bn of Treasury bills for which banks can trade less liquid assets; and the Treasury will back £250bn of new funding obtained by banks.

The government also raised the limit on its protection of retail deposits from £35,000 to £50,000 and moved to secure deposits at Icesave, a British branch of a failed Icelandic bank. The government later stated that it would also extend further funding totalling £37bn to RBS and the merged HBOS/Lloyds TSB.

Germany

On October 13th, the German cabinet unveiled a €500bn economic rescue plan: a €100bn market stabilisation fund and up to €400bn in credit guarantees. The guarantees are designed to calm the fears banks have of lending to each other, which is one of the key problems perpetuating the crisis.

The fund will allow the government to buy assets directly from banks. But recipient banks will be subject to government oversight over management decisions, perhaps including a €500,000 ceiling on executive pay and a ban on large bonuses.

France

Also on the 13th, France announced a €360bn plan comprised of €320bn in credit guarantees on interbank loans and €40bn set aside within a state-owned company to aid bank recapitalisation. France had already taken action last week, guaranteeing the debt of Dexia SA, the world’s largest lender to local governments.

In addition, French banks may profit from the crisis: BNP Paribas, has recently agreed to buy the stricken Belgo-Dutch bank Fortis for €14.5bn. President Sarkozy has called for the easing of accountancy rules and for salary caps at banks, and has led in the efforts to coordinate European bailouts. At a Eurozone meeting in Paris, Sarkozy echoed Gordon Brown in warning that ‘the greatest risk is inertia.’

Iceland

Iceland’s top three banks – Kaupthing, Landsbanki, and Glitnir – began experiencing financial troubles as early as 2004. Since 1991, the government had been dismantling the historic system of high taxes, high tariffs, and centralised price-setting. The result was economic expansion – easier credit, soaring stock and housing prices – plus a wave of overseas buyouts backed by foreign banks – including Barclays and Deutsche Bank.

Yet because so much of the Icelandic banks’ funding came from overseas lenders, they were vulnerable to changes in interest rates, exchange rates, and lender stability. In 2007, Kaupthing took steps to reduce its exposure to the risks of borrowing from the credit market: cutting costs, selling assets, and avoiding new acquisitions.

But the credit crunch still left the banks unable to secure further funding and burdened with $61 billion in debts, almost 12 times the size of Iceland’s economy. Therefore, Iceland has nationalised the big three banks. This has led to conflict with the UK, whose institutions, including local councils, had £800m of deposits in the Icelandic banks.

Iceland and the UK have come to an agreement over redeeming the deposits, but are still threatening to sue each other over their respective roles in the bank failures. The Icelandic stock exchange halted trading for a time but has reopened.

Spain

Spain was the third country to launch a bailout on Monday, guaranteeing up to €100bn of debt issued in 2008 and perhaps early 2009. Prime Minister Zapatero also revealed a measure allowing the state to buy shares in banks if necessary, though this has not happened yet.

Spain had already created a €30-€50bn fund to buy assets from Spanish banks and to provide capital for continued lending. Cautious regulation from the Bank of Spain limited the crisis’ regional impact, but easier borrowing since the 2002 introduction of the euro still led to a tripling in house prices and an overuse of debt. Mortgage rates, inflation, and unemployment have risen.

Yet, as in France, some Spanish banks still in good health have taken advantage of the situation; Banco Santander, the biggest bank in the EU, has agreed to buy all ofUS bank Sovereign Bancorp.

Italy

Italy’s financial plan resembles that of France; it includes guarantees on new bank loans with maturities of up to five years, asset-swapping measures to help recapitalisation, and insurance of loans to private companies. However, the government, unlike its European counterparts, has not set a specific figure for the cost involved.

Prime Minister Berlusconi claimed on Sunday that Italian banks have less to fear than their European peers and that UniCredit SpA, one of Italy’s biggest banks, is the only bank to require direct government aid. UniCredit has is exposed to more foreign risk than any other Italian bank. The government had passed an emergency plan the previous week, purchasing stakes in banks needing extra capital and extending a guarantee on bank deposits.

 

Changing the Union

This week many freshers will sign up to the Oxford Union Society, and by the end of their first year more people than not will regret that decision. The Union is an amazing institution full of some of the cleverest, funniest and most driven people I’ve met in Oxford, but somehow it doesn’t quite work.

For one thing, the debates are ridiculous. Have you ever met a person coming out of a Union debate and saying ‘Fun, just not long enough’? At the end of a debate last year a doctor, supposed to speak on the NHS, sang instead. He was bored, we were bored and it summed up how absurd the whole process had become.

If a doctor who has travelled to speak about his work no longer cares, then what hope for the audience? Equally, if someone has given up their Thursday evening to listen to a debate on knife crime, the last thing they want to hear is who did what to whom on Lincoln lawn.

I have lost count of the number of speakers who start their speeches admitting they are unprepared or covering for someone who has pulled out before telling smug jokes about the sexuality of someone on the front row. The debating chamber is not the committee’s playground – treat it with some respect.

The larger problem is not with the Union itself. The majority of the students are ill-informed about it. People are too quick to write it off because of its reputation. But if people took time to meet those involved, then the ‘hacking’ that annoys so many would be less of an issue.

Hacking is so effective because the majority of members have no idea who to vote for: they haven’t taken the time to check on the individuals themselves. Surely someone interested enough to pay £160 to join should be sufficiently engaged not to complain when asked to vote. Hacking is a necessary evil that those who stand have to go through. Even Obama plays the game.

Whilst the responsibility lies with both the Union and students to make it the organisation it should be, the Union has to instigate it. Writing a nice introduction in the termcard is not enough. Why not host all the political parties on the same night and break the Tory white tie image? Make it the centre of political debate that it could easily be.

The Oxford experience is so transient and quick that in three years the Union could have a whole new inclusive image. The place has so much potential and the change could be so easy: that responsibility is on us all.

 

Taking the pulse of student politics

When I campaigned to be President of the Oxford University Student Union, I claimed on several occasions that a world class university with students of world class potential deserves a world class student union. In order for us to achieve that aim we have to be dynamic, more responsive and more professional.

Within a year we have seen important to changes to OUSU that will bring us closer to becoming the student union that Oxford students deserve. Instead of having an elected officer running the finances of OUSU, this summer has seen the introduction of a Strategic and Financial Manager, a change that will provide stability and continuity to our finances.

We have employed a Student Advisor for the Student Advice Service, a step in the right direction if OUSU wants to keep up with our peers at other universities. This summer has also witnessed the start of the OUSUPulse partnership, a project that will ensure that students will always have the opportunity to enjoy safe, affordable and entertaining nights out.

More change is also around the corner. This week I will ask the OUSU Council to vote to hold a referendum on the biggest structural overhaul in the 34-year history of the Student Union – turning OUSU into a charity, creating a Trustee Board and establishing committees of Council to make OUSU Council more efficient.

I will also ask the Council to permit me to create a working party that will produce a report about the demand for and financial implications of a central student centre, with a view to voting on the issue by the end of the year. Some students argue that OUSU isn’t important at all, and would even go as far as to argue that work of the Oxford University Student Union is a waste of time.

I ran for President because it’s important that we as a community prevent students from being riddled with debt, facing astronomical rent rises, and being unfairly punished by the proctors. It’s important to ensure that we unlock the potential of students in the state sector through the OUSU Target Schools Scheme, which tries to debunk myths about Oxford. It is also important that we give back to the community, through the OUSU Raise and Give campaign.

It’s important that we campaign to ensure equal treatment of women, religious groups, the LGBTQ community, ethnic groups and the disabled through OUSU’s autonomous campaigns, and it’s important that OUSU gives students the opportunity to work for a student newspaper or a student radio station during their time here. Students also deserve a fun and safe time during their time in Oxford and that’s why it’s important that OUSU should provide a safety bus, run Freshers Fair and run popular club nights throughout the week.

The work of the Oxford University Student Union has never been more crucial. Change is happening, so get involved.

 

Chain Reaction

The ‘90s were a time of dreams, a time when anything could happen, when social hierarchies could be torn apart… if you were in a high school movie. In which case, you have probably had or will have a ‘makeover’ before your time is up.

Congratulations! Becoming Queen Bee of your school and usurping the provider of your salvation a la Clueless, getting the hot guy who made a bet he could turn you into prom queen like in She’s All That – all this and more could be yours! Things are looking up for ugly girls everywhere…

There are, of course, some caveats to this statement – I’d rather we didn’t mention my namesake (the nicknames, the ugliness) who didn’t get a makeover at school; she even had to return to high school to banish her demons, oh, and bag the hot teacher. There’s also the possibility you might stumble into a non-makeover teen film like Bring It On.

Oh yes, and one final point – you can’t actually be ugly. Applicants for ‘ugly girl’ parts in teen films should still be at least twice as attractive as the average person. In some cases you might be required to be better in every way than your ‘hot girl’ counterpart. Come on, was anyone fooled in 10 Things I Hate About You? Bianca was like Pizza Hut to Julia Stiles’ cleverer, funnier, prettier Pizza Express.

So really the ‘90s teen film gave awkward teens hopes of romance and fulfilment before shattering them to pieces. So, got that? No ugly chicks allowed. Even in Coyote Ugly. Especially in Coyote Ugly.

 

Review: Eagle Eye

Have you ever been watching a film in the cinema when suddenly you realise that you’ve seen it before? Watching Eagle Eye, that feeling of déjà vu will probably come over you again and again.

There are shades of Terminator, Wanted, 2001, A Space Odyssey, I Robot, indeed practically every film I’ve ever seen, and while such a concept is hardly surprising with director D.J. Caruso’s record (last year’s Disturbia was a complete rip-off of Hitchcock’s Rear Window), it does get a little annoying.

What is one man’s theft, however, is another’s homage, so it is perhaps too harsh to judge it on this alone. A mix of mystery, action and thriller, Eagle Eye is a well-executed, if silly, comment on politics and the threat of surveillance.

So far, so 1984, but with some genuinely exhilarating chase sequences and a very dangerous trumpet (don’t ask), Eagle Eye gives Big Brother a twenty-first century makeover. When lay-about copy-boy Jerry Shaw (LaBeouf) receives a call from a mysterious woman who seems to be watching his every move, his first instinct is to ignore her communications.

When this voice on the other side of the phone breaks him out of jail by demolishing it, however, he begins to think otherwise. Forced to meet Rachel Holloman (Monaghan), whose son will be killed if she does not also listen to this faceless woman, the two must assist in what seems to be a terrorist plot.

Hot on their tails are cops Billy Bob Thornton and Rosario Dawson, who must stop these risks to security at all costs. But how do you catch two criminals who are informed via telephone what’s around every corner, helped by an assailant who can turn red lights green, derail trains and, in a particularly Transformers-esque scene, make unmanned cranes destroy every police car on the duo’s trail?

It may be ridiculous, but it makes good popcorn viewing. No strangers to the Hollywood blockbuster, the film’s leads shine in roles which explore the depth of what normal people will do when faced with no other option.

LaBeouf (the worst thing about Indiana Jones 4) and Monaghan (the best thing about Mission Impossible 3) work excellently together, bouncing off each other’s turmoil to create a duo thrust together by circumstances. Best of all, the scripting (almost) completely resists the temptation of the romantic subplot.

Also, while there is a slightly infuriating Hollywood ending, this is a film which knows not to take itself too seriously, making up for a dubious principle with highly impressive special effects and performances which truly justifies LaBeouf and Monaghan’s places on the new Hollywood A List.

Three stars

 

Review: Burn After Reading

Sex, nerdiness and mindless violence mix with ab-toning and stupidity to make a heady cocktail of unforgiving black humour in Joel and Ethan Coen’s Burn After Reading. After last year’s Oscar success for No Country For Old Men, the Coen brothers are at the top of their game.

Joining them in their latest endeavour is an ensemble cast of Hollywood royalty – Coen regulars George Clooney, Richard Jenkins and Frances McDormand, along with first-timers Brad Pitt, Tilda Swinton and John Malkovich. At the headquarters of the CIA, analyst Osborne Cox (Malkovich) arrives for a top-secret meeting only to find he is about to be sacked for a drinking problem.

He does not take the news well, and returns to his whisky and memoir writing at his Georgetown home, where his wife Katie (Swinton) is embroiled in an affair with a married federal marshal, Harry Pfarrer (Clooney). Elsewhere in the Washington, DC suburbs, and seemingly worlds apart, Hardbodies Fitness Center employee Linda Litzke (McDormand) can barely concentrate on her work.

She is consumed with her life plan for extensive cosmetic surgery and confides her mission to can-do colleague Chad Feldheimer (Pitt). And all the while, the gym’s manager Ted Treffon (Jenkins) pines for her even as she arranges dates via the Internet with other men.

When a computer disc containing material for the CIA analyst’s memoirs accidentally falls into the hands of Linda and Chad, the duo are intent on exploiting their find. Unfortunately for them, they go about it in a not particularly intelligent way.

And it is this lack of even common sense in the lead characters that the relentlessly dark comedy exploits to make a script that is at once a heartwarming and chilling. Brad Pitt delivers a cleverly timed and nuanced performance as the gratuitously annoying and ingratiatingly idiotic gym assistant who bumbles merrily through life.

Frances McDormand, as his colleague and accomplice in the botched blackmail plot, succeeds in making her character aggravatingly pathetic, yet pitiable, whilst Tilda Swinton does bitchy ice queen like no one else – clad ever so stylishly in pearls and pastels.

Carrying on their on-screen partnership from the immensely successful Michael Clayton is George Clooney and his Harry Pfarrer, with an incredible nervous energy that can only spring from an actor who is very much at ease with himself and the directors. It is a well thought out and masterful performance.

But the best screen time without doubt is occupied by John Malkovich, who is the real crux of the film’s comic power, hurling obscenities indiscriminatingly and soaking himself in whisky. ‘I have a drinking problem? Fuck you. You’re a Mormon. Next to you, we all have drinking problems.’

Aside from the stellar performances, the two real winners for me were the perfectly paced script and Carter Burwell’s excellent score that brings out the structure of the seeming scattered stories with brilliant intensity. Oh, and watch out for a small appearance by Vladmir Putin.

This film is without doubt an excellent watch. Its savage humour and touching detail leave you with a sense of warmth – as well as dismay: that there may well be a Linda Litzke lurking in all of us.

Four stars

Book Review: A Prickly Affair

Let’s get one thing straight: I am no animal lover. In fact, that’s an understatement. The truth is that I have a singular hatred of all things nonhuman, be they prickly, feathery, furry or scaly.

I am disgusted by the way animals don’t use the toilet. I am terrified by the fact that, in San Francisco, dogs outnumber children. Most of all, though, I am horrified by the irrational affection that animals inspire in human beings.

That term itself, ‘animal lover’, is abhorrent to me. Please don’t tell me they’re ‘better friends than people’, that ‘animals never start wars’, or that your cat ‘loves you back’. He doesn’t. If you supplied me with a warm house and free food I’d purr contentedly and let you stroke me too, but I’d still think you were an idiot.

You see, when I was growing up we couldn’t afford a television, so we had to make our own entertainment. My dad discovered that he and I could amuse ourselves for hours by taking long drives around the winding country roads of the Scottish borders. We weren’t there for the scenery; we were there for the sheer joy of running over as many jaywalking pheasants as we possibly could.

Nowadays I’m deprived of the satisfying squelch of bird head beneath Astra wheel, but whenever I purchase cosmetics, I take great care to ensure they have been tested on animals. So, whenever I wash my face, I think of a thousand pairs of little monkey eyes, bloodshot and burning in the name of my personal hygiene. Perhaps I’m exaggerating. Perhaps I’m not. Perhaps I really am a complete monster.

The central point, however, remains: I was never going to be one to give A Prickly Affair, a book by a man obsessed with hedgehogs, an easy ride. In truth, I wanted to hate it. I had a burning desire to rip out its still-beating little hedgehog heart, chew it up, then spit it back out, spewing tasty vitriol all over this very page.

Sadly, though, I can’t. As much as it pains me to say it, this book is, well, rather decent. It succeeds almost in spite of itself, its author and publisher.

It’s billed as a cutesy tale about how lovely hedgehogs are, sold with the assumption that the whole world finds the spiky little blighters completely adorable, but really A Prickly Affair isn’t anything as awful as that. This is because its emotional heart lies not in that oh-so droll title, but in the subtitle, ‘My Life with Hedgehogs’.

That ‘with’ is important, because the hedgehogs of A Prickly Affair really are the book’s secondary concern. The real story here is that of a classic English eccentric with a bizarre passion that he pursues with relish and vigour and without ego or self-possession.

Unfortunately for Hugh, probably, it barely matters that the book is about hedgehogs. For much of the book Warwick could just as well be writing about his love of turnips, crabs, or vintage cars. Much like those ‘personality’ TV documentaries, which are not about hills, but about how Gryff Rhys Jones loves hills, not about breast milk but about how much Kate Garraway loves breast milk, Warwick himself is the star of his book.

He does not mean to be; he is utterly unselfconscious – and all the more engaging for it. He tries to keep his hedgehogs to the front and centre of the reader’s consciousness at all times, but in doing so only heightens a sense of just how powerful and all-consuming his passion is.

I will never understand or share Hugh Warwick’s fascination with these animals, but his near-obsessive dedication, and the eloquence and humour with which he explains it are endlessly admirable.