Shucked, which made its Broadway debut two years ago, is the delightful first offering in Drew McOnie’s inaugural season as artistic director. The production is packed with puns that are witty, risqué, and occasionally tongue-in-cheek, following the misadventures of two lovers searching for happiness in Cob County—an eccentric town where corn is the main staple and unfamiliar faces are hard to find.

Songwriters Brandy Clark and Shane McAnally draw heavily from Nashville’s musical heritage, ensuring that every song resonates with authenticity. In the heartfelt ballad Somebody Will, Ben Joyce’s lovelorn character, Beau, captures the essence of a poignant late-night radio vibe, reminiscent of long drives across America’s heartland.

Robert Horn’s book is impressively crafted. Though the plot is simple, it is enriched with clever in-jokes and subtle allusions, deftly woven together by the show’s Broadway director, Jack O’Brien. The entertainingly suggestive undertones of corn on the cob are a constant source of humor, aided by the antics of the playful narrators, Monique Ashe-Palmer and Steven Webb, who cleverly break the fourth wall against Scott Pask’s whimsically designed barn set.

From the outset, with a pre-show prompt to turn off our tractors, the audience can settle in for a fun experience. Joyce and Sophie McShera shine as the leading couple (with McShera playing the aptly named Maizy), while Georgina Onuorah’s cynical character, Lulu, steals the spotlight with her dynamic performance of Independently Owned. Although Matthew Seadon-Young’s role as Gordy, a scheming conman, is somewhat underdeveloped, the laughter keeps rolling thanks to Keith Ramsay’s portrayal of the dim-witted Peanut, who dispenses humorous folksy wisdom.

A century after Sinclair Lewis critiqued small-town conformity in Main Street, Clark, McAnally, and Horn effectively reveal that not much has changed in the remote areas of the country. ★★★★★ 145min Regent’s Park Open Air Theatre, London, until June 14.

The landscape of celebrated 20th-century literature is dominated by themes of murder, despair, and totalitarianism, with occasional whimsical elements like hobbits. Leading the pack as the most popular title is George Orwell’s Nineteen Eighty-Four, which has sold over 400,000 copies since 2019. This novel serves as a haunting critique of a totalitarian regime and is emblematic of a broader trend in literature that has appealed to readers amid social and political turmoil.

Orwell’s work is not alone in the ranks of bestselling 20th-century novels; it is followed closely by Frank Herbert’s science fiction epic Dune, Margaret Atwood’s chilling The Handmaid’s Tale, and Orwell’s own Animal Farm. This trend towards dystopian narratives reflects a collective consciousness grappling with uncertainty and societal collapse, perhaps fueled by recent events, including Brexit, political upheaval, and a global pandemic.

Utilizing data from Nielsen BookScan, which tracks the Sunday Times Bestseller list, we compiled a ranking of the top 50 bestselling fiction titles from the 20th century purchased in the UK over the last five years. The resulting list showcases an array of works steeped in fear and paranoia, including classics like Lord of the Flies, Brave New World, and Fahrenheit 451, along with two notable novels by Philip K. Dick, The Man in the High Castle and Do Androids Dream of Electric Sheep?, the latter being the inspiration for the film Blade Runner.

Another noteworthy entry at number five is Donna Tartt’s The Secret History, a captivating novel from 1992 that commences with a murder. Set among Classics students at a secluded New England university, this story has recently seen a resurgence in popularity, thanks in part to its appeal on platforms like TikTok, where its aesthetic of ‘dark academia’ has captivated a new generation.

Modern trends in literature, influenced by social media, television adaptations, and education curricula, play a significant role in shaping reading preferences. For instance, Sylvia Plath’s The Bell Jar has gained traction, surpassing JD Salinger’s The Catcher in the Rye in popularity. This phenomenon extends to other poignant works that resonate with the tumultuous experience of adolescence, raising questions about the consumption of literature among younger audiences amid discussions on sensitivity in content.

The presence of Marian Keyes’s 1997 novel, Rachel’s Holiday, at position 14 in this compilation is noteworthy. While it presents a comedic narrative, it fundamentally addresses issues such as alcohol addiction and recovery, and it stands out as one of the limited entries by female authors in a predominantly male-dominated list of modern classics.

Examining the authors’ backgrounds reveals a heavy presence of American literature, with 23 publications by American writers compared to 20 from British authors. Renowned classics such as The Great Gatsby, To Kill a Mockingbird, and Beloved showcase the enduring appeal of American storytelling, while British contributions like Kazuo Ishiguro’s The Remains of the Day provide a contrasting voice of English literature.

This compilation suggests that themes of despair often prevail, leading readers toward works that explore darkness, conflict, and existential dread rather than lighter or romantic narratives. It raises intriguing questions about the nature of enjoyment in literature and invites speculation on where readers might seek wonder and enchantment in their choices.

The rankings were generated using UK print sales figures for works published before 2000, covering the five-year period ending June 29, 2024.

The Top 50 Modern Classics

50. The Woman in Black by Susan Hill (1983)

A lawyer’s journey to a haunted house leads to dramatic revelations in this chilling ghost story.

49. The Old Man and the Sea by Ernest Hemingway (1952)

The struggles of Santiago, an old fisherman, as he battles to catch a giant marlin after 84 days without success.

48. Giovanni’s Room by James Baldwin (1956)

A poignant tale set in Paris, where David confronts his feelings for Giovanni while facing a long, emotional night.

47. The Colour of Magic by Terry Pratchett (1983)

The inaugural novel of the Discworld series follows the hapless wizard Rincewind on his misadventures.

46. Do Androids Dream of Electric Sheep? by Philip K Dick (1968)

Rick Deckard, a bounty hunter in a futuristic world, searches for androids posing as humans.

45. Lolita by Vladimir Nabokov (1955)

A disturbing yet beautifully written narrative of obsession from the perspective of Humbert Humbert.

44. Misery by Stephen King (1987)

A writer encounters a nightmare when he is rescued by an obsessed fan after a car accident.

43. Catch-22 by Joseph Heller (1961)

As absurdity reigns, Captain Yossarian tries to survive the contradictory realities of war.

42. A Place of Execution by Val McDermid (1999)

A journalist’s investigation into a historical disappearance uncovers unexpected complications.

41. The Man in the High Castle by Philip K Dick (1962)

An alternative history where the Axis powers triumphed in World War II paints a bleak picture of life in the 1960s.

40. Antarctica by Claire Keegan (1999)

A collection of short stories examining the complexities of relationships and personal choices.

39. The Remains of the Day by Kazuo Ishiguro (1989)

A butler reflects on his life and the sacrifices made in service to his employer while grappling with unexpressed love.

38. A Game of Thrones by George RR Martin (1996)

The opening novel of A Song of Ice and Fire introduces the treacherous world of Westeros.

37. And Then There Were None by Agatha Christie (1939)

A suspenseful tale of ten strangers brought to an isolated island, where they meet a deadly fate one by one.

36. No Longer Human by Osamu Dazai (1948)

A profound exploration of identity and alienation through the journals of a confused young man.

35. Beloved by Toni Morrison (1987)

A haunting narrative of a mother’s complex memories of her deceased daughter and the horrors of slavery.

34. One Hundred Years of Solitude by Gabriel García Márquez (1967)

This landmark novel chronicles the Buendía family across generations in the magical town of Macondo.

33. The Hitchhiker’s Guide to the Galaxy by Douglas Adams (1979)

The misadventures of Arthur Dent unfold across the galaxy after the Earth is demolished.

32. The Silmarillion by JRR Tolkien (1977)

A compilation of tales and histories set in Middle-earth, revealing the myths leading up to The Lord of the Rings.

31. Dune Messiah by Frank Herbert (1969)

The sequel to Dune examines the complexities of power and leadership on the desert planet Arrakis.

30. The Color Purple by Alice Walker (1982)

This epistolary novel tells Celia’s journey of empowerment through relationships and self-discovery.

29. The Man with No Face by Peter May (1981)

In the backdrop of political intrigue, journalist Neil Bannerman uncovers a murder mystery in Brussels.

28. American Psycho by Bret Easton Ellis (1991)

A chilling exploration of materialism and alienation through the eyes of a wealthy, psychopathic banker.

27. The Shining by Stephen King (1977)

Jack Torrance’s winter stay at an isolated hotel spirals into madness, endangering his family.

26. Fahrenheit 451 by Ray Bradbury (1953)

In a dystopian future, fireman Montag discovers the power of literature as he begins to question his society’s ban on books.

25. The Lord of the Rings boxed set by JRR Tolkien (1937-49)

The epic saga of two hobbits tasked with destroying a powerful ring, receiving critical acclaim across generations.

24. It by Stephen King (1986)

The haunting saga of Pennywise the clown captivates and terrifies children in a small town.

23. Die Trying by Lee Child (1998)

In this second installment of the Jack Reacher series, Reacher and an FBI agent fight for survival against a radical militia.

22. Rebecca by Daphne du Maurier (1938)

A newlywed grapples with the haunting legacy of her husband’s first wife at the grand estate of Manderley.

21. The Virgin Suicides by Jeffrey Eugenides (1993)

A haunting reflection on the lives of five sisters who take their own lives, observed through the eyes of neighborhood boys.

20. Tripwire by Lee Child (1999)

Jack Reacher dives into a treacherous investigation when a supposed missing veteran resurfaces, entangling him in danger.

19. Norwegian Wood by Haruki Murakami (1987)

Watanabe reflects on his days in college in Tokyo, caught between two vastly different women.

18. The Catcher in the Rye by JD Salinger (1951)

Holden Caulfield’s disillusionment with the adult world leads him through a journey filled with angst and searching.

17. Brave New World by Aldous Huxley (1932)

The perils of a controlled society where happiness is mandated raise questions of human connection and individuality.

16. Killing Floor by Lee Child (1997)

The introduction of Jack Reacher unfolds as he confronts justice and survival in a small town.

15. Of Mice and Men by John Steinbeck (1937)

Two ranch workers aspire to fulfill their dreams against the backdrop of the Great Depression.

14. Rachel’s Holiday by Marian Keyes (1997)

Rachel Walsh faces the consequences of her lavish lifestyle as her sister sends her to rehab.

13. Westwind by Ian Rankin (1990)

A technician uncovers a conspiracy surrounding Britain’s only spy satellite when it mysteriously goes offline.

12. Good Omens by Neil Gaiman and Terry Pratchett (1990)

This comic tale spins prophecies of the apocalypse into a humorous narrative featuring unlikely characters.

11. The Alchemist by Paulo Coelho (1993)

Santiago, an Andalusian shepherd boy, embarks on a transformative journey to discover his own destiny.

10. Lord of the Flies by William Golding (1954)

A group of boys stranded on a deserted island descend into savagery as civilization unravels.

9. The Bell Jar by Sylvia Plath (1963)

Plath’s semi-autobiographical novel tackles mental illness through the poignant story of Esther Greenwood.

8. The Hobbit by JRR Tolkien (1937)

Bilbo Baggins’s adventure to reclaim his home from the dragon Smaug sets the stage for Middle-earth’s legendary tales.

7. To Kill a Mockingbird by Harper Lee (1960)

This novel portrays moral growth and social justice lessons as Scout Finch navigates childhood in Alabama.

6. The Great Gatsby by F Scott Fitzgerald (1925)

Narrated by Nick Carraway, this Jazz Age classic reflects on ambition, love, and the American Dream.

And the top 5…

5. The Secret History by Donna Tartt (1992)

Richard Papen’s life transforms at a liberal arts college in Vermont, entangled with a group of enigmatic Classics students surrounding a murder. This debut work has become a staple of dark academia.

4. Animal Farm by George Orwell (1945)

A group of animals aspire to equality but face tyranny under the pigs’ rule, creating a profound political allegory reflective of Stalinist Russia.

3. The Handmaid’s Tale by Margaret Atwood (1985)

In a dystopian society overtaken by the Republic of Gilead, Offred serves as a staple of oppression and resistance, reflecting troubling realities of women’s rights.

2. Dune by Frank Herbert (1965)

The tale of Paul Atreides unfolds as he navigates betrayals on Arrakis, entwined with themes of prophecy, politics, and ecology, recently reignited by a film adaptation.

1. Nineteen Eighty-Four by George Orwell (1949)

This seminal work encapsulates a cringe-worthy prophecy of totalitarianism, exploring themes of surveillance, love, and rebellion in a dismal future. Orwell’s portrayal of Big Brother and the Thought Police continues to resonate, highlighting the fragility of freedom.

What is your favourite 20th-century novel? Share your thoughts in the comments below.

As Hockney grew older and distanced himself from Yorkshire, his color choices—both artistically and personally—became increasingly vibrant and whimsical. He experimented not just with bold hues but also with different shapes and designs. His fashion statements included oversized tie knots and large eyewear, along with a mix of stripes, polka dots, and plaid patterns that became particularly eye-catching long before his move to California’s colorful landscapes.

Hockney has constantly redefined boundaries not only in art but also in the world of fashion. Traditional garments such as rugby shirts, cardigans, and trench coats received a refreshing twist through his unique combinations and bold use of color.

Notably, designer Christopher Bailey, a fellow Yorkshire native and former head of Burberry, drew inspiration from Hockney’s distinctive style for a 2013 collection. Bailey recalled spotting Hockney on Jermyn Street in a cream linen suit adorned with a green paint smudge, remarking on his effortless combination of colors that left a lingering question about intentionality.

Interestingly, Hockney’s unconventional wardrobe never appears overly calculated. It seems as if his choices are guided by a color palette rather than fashion rules. An iconic photograph from 1970 by Peter Schlesinger captures Hockney with Cecil Beaton, showcasing his signature peroxide hairstyle along with a pastel pink tweed suit featuring a bold windowpane check, mismatched socks, and vibrant accessories. These choices continue to evoke admiration for Hockney’s inherent audacity.

Hilton Als, an American writer who contributed a foreword to a collection of Schlesinger’s photographs, noted that the era of those photographs was characterized by greater openness. Hockney remarked that he felt at home in a world that embraced bold fashion choices in everyday settings.

With a major exhibition of Hockney’s work scheduled to open in Paris next month—featuring 11 rooms at the Fondation Louis Vuitton showcasing both classic pieces and previously unseen works—it’s timely to reflect on how society has shifted towards a broader acceptance of individual style. This is evident in the flamboyant fashions seen on contemporary figures at events like the Grammys and high-profile fashion shows.

For those wanting a touch of Hockney’s flamboyance without fully adopting his look, spring menswear collections offer a plethora of options. Designers like Ami, Auralee, Bianca Saunders, Marni, and Lemaire showcased vivid color blocks on runways, while boutiques offer various brightly colored knitwear and vibrant casual wear.

Chris Stephens, who organized the David Hockney retrospective at Tate Britain in 2017, remarked that the essence of Hockney’s artwork lies in celebrating the joys of life. At 87, Hockney remains a vibrant presence, seemingly dedicated to embracing those pleasures.

His innovative style continues to evolve rather than fade. While Hockney might now favor Savile Row tailored suits, completed with a flat cap and walking cane, these age-appropriate choices do not detract from his playful spirit. Distinguished by his distinctive yellow spectacles and bright banana-yellow Crocs, which even made an appearance at a recent royal event, Hockney’s unmistakable charm continues to impress.

David Hockney exhibition runs from April 9 to August 1 at the Fondation Louis Vuitton.

Presenting Miller’s depiction of the Salem witch trials in the Globe’s period stage setting proves effective. Director Ola Ince’s straightforward production captures the essence of a traveling performance, offering a scene that could easily be mistaken for an outdoor gathering along the Thames.

While the lengthy exposition in the first half may slow the pace, the compelling courtroom scenes draw the audience into the fray, with witnesses and officials blending into the crowd. This engagement evokes the feeling of being absorbed in a community overshadowed by superstition, rumor, and malicious whispers.

Can contemporary viewers immerse themselves in a narrative where the fear of hellfire rivals the intensity of modern social media storms? Similar to Lyndsey Turner’s recent production, which transitioned from the National Theatre to the West End, there are moments where audiences chuckle in response to lines that should carry significant gravity.

Gavin Drea portrays John Proctor with a quiet yet powerful presence, embodying the independent farmer caught in the frenzy of local hysteria, adopting an Irish accent for a unique twist. Hannah Saxby’s portrayal of Abigail Williams, the determined ringleader of the girls allegedly under the Devil’s spell, showcases a bold young woman unashamedly expressing her desire for the married Proctor.

As the frenzy of accusations escalates and more townsfolk are arrested, the tension between Reverend Hale (Jo Stone-Fewings) and Deputy Governor Danforth (Gareth Snook) becomes palpable. Snook’s performance hints at the ominous nature of a witchfinder-general, seeking out perceived sinners in every corner of the courtroom.

Musicians positioned in the balcony provide haunting musical interludes, adding to the atmosphere, while the evening’s length conveys the weight of a day hard spent in toil. Nonetheless, the chilling moment when the girls seem to succumb to malevolent forces serves as a stark, unsettling glimpse into the supernatural. ★★★★☆ 170min. To Jul 12, shakespearesglobe.com

We invite you to share your current reads in the comments below!

It’s perhaps self-indulgent, but I have a preference for novels that prominently feature women engaged in reading and introspection, particularly those set within a university backdrop. They evoke my own university days, which I fondly remember as filled with reading and relaxing on grassy lawns (the associated heartbreaks and essay troubles faded amid memories of lukewarm white wine). One title I particularly enjoyed last year was Practice by Rosalind Brown, which follows an Oxford student over a single day as she attempts to write an essay on Shakespeare while juggling various distractions.

This year, I’m looking forward to To Rest Our Minds and Bodies by Harriet Armstrong, set to be released on June 5. The narrative centers on a young woman in her psychology degree’s final year who becomes increasingly infatuated with her neighbor Luke, a master’s student. The style is distinctive, marked by numerous uses of words like ‘somehow,’ ‘actually,’ and ‘suddenly,’ capturing the intense feelings of first-time experiences. One passage recounts, “Suddenly it was so much warmer… I became really interested in going outside wearing just T-shirts; somehow, it felt like the first time in my life I’d walked around without a coat and felt the air on my bare skin. That feeling actually felt new to me.”

If you’re drawn to reflections on youth intertwined with touches of regret, Dream State could be an excellent choice. I read this expansive novel with a pen at hand, marking quotes I found striking on nearly every page. This is Eric Puchner’s second novel, and it’s been selected for Oprah’s book club. The story begins in 2004, with young Cece planning her wedding to Charlie at his family’s Montana home. As Charlie hopes for Cece to bond with his somewhat tragic best friend Garrett, their relationship evolves, leading to decisions with repercussions spanning half a century. This book offers a compelling family saga underscored by Puchner’s sharp wit.

Robbie Millen, Literary Editor

Barbara Demick, recipient of the Samuel Johnson prize in 2010 for her remarkable work Nothing to Envy about everyday lives in North Korea, has released another captivating book titled Daughters of the Bamboo Grove, also out on June 5. This narrative delves into China’s harsh one-child policy, focusing on the harrowing tale of how children were abducted by Communist Party officials and sold to westerners via adoption agencies. By centering on a pair of twins—one adopted by a family in Texas and the other remaining in China—the book personalizes a grim historical reality filled with shocking statistics, including that 83 million people were involved in enforcing family planning policies. Demick’s storytelling sheds light on the many mothers who faced forced sterilizations and forced abortions while detailing the chilling abductions of children.

In another noteworthy non-fiction offering, Justin Marozzi presents Captives and Companions: A History of Slavery and the Slave Trade in the Islamic World, set for release by Allen Lane in July. While considerable literature exists on the transatlantic slave trade, less attention has been given to the slave trade in the Arab world, a subject equally distressing. Marozzi’s thorough research is compelling, particularly the chapter addressing the trade in eunuchs. His extensive travels across North Africa highlight the ongoing human trafficking issues in countries like Mauritania and Mali—troublingly, terror groups like Islamic State and Boko Haram exploit these practices, believing them to be justified within their interpretations of Islam.

Ceci Browning, Assistant Literary Editor

I’ve been an admirer of Joan Didion for a long time. Her book The Year of Magical Thinking left a lasting impression on me with its haunting contrast between her composed writing style and the tragedies permeating her life. It was once my favorite book (alongside her reportage on the Salvadoran civil war titled Salvador; definitely worth reading for those interested in politics). Recently, I read what can be referred to as her latest release, Notes to John. This posthumous collection of reflections from her therapy sessions felt intrusive, with various insights about Didion’s life, yet John Self aptly conveyed that it’s “frequently boring.”

While visiting Cambridge with my boyfriend, I intended to pick up a copy of Ernest Hemingway’s Men Without Women. However, he persuaded me to purchase The Old Man and the Sea, a classic I had shamefully overlooked. Released in 1952, this novel portrays an elderly fisherman named Santiago who has gone an astounding 84 days without catching a fish. One day he sets sail without his usual companion, capturing an enormous marlin he must struggle to reel in. This story transcends the themes of fishing, highlighting human resilience and strength. I’ve already found myself eager to reread it soon.

Johanna Thomas-Corr, Chief Literary Critic

When making bold statements about a writer’s talents, there’s always a slight fear of eventual regret. In 2022, I praised Benjamin Wood’s fourth novel, The Young Accomplice, calling him the British literary scene’s “best kept secret.” With his upcoming work, Seascraper, releasing on July 17, I experienced some nerves. The 163-page story follows a young shrimp scraper and aspiring folk musician navigating life in a quiet coastal town, which initially seemed potentially dull. Yet, if an exceptional novelist can make seemingly mundane subjects captivating—like fishing regulations or shellfish—Wood certainly fits this category.

He opens strong, packing profound poetry into his introduction. My 11-year-old son was instantly captivated by the opening: “Thomas Flett relies upon the ebb tide for a living, but he knows the end is near. One day soon, there’ll hardly be a morsel left for him to scrounge up from the beach that can’t be gotten by quicker means at half the price.” That first line is a gateway into the narrative.

Switching gears, Elizabeth Day has her sixth novel on the horizon, and it promises to be an engaging read combining elements of revenge and humor. One of Us (set for September 25) revolves around the Fitzmaurice family, particularly Ben, a candidate for prime minister. But tension arises as Martin, his former friend aware of Ben’s secrets, has been receiving hush money from the family. Collected through multiple perspectives, the narrative paints an intriguing portrait of privilege, with Martin’s self-description as “a hall of mirrors in human form” being one of the highlights so far.

What literary works are you currently immersed in? Share your thoughts in the comments below.

However, Kilmer found fame in a different genre, becoming a household name with his role in *Top Gun*, the iconic 1980s action film. He played the character Iceman, showcasing not only his physical prowess but also capturing the spirit of the decade alongside co-star Tom Cruise. In an interview, Kilmer reflected on his unexpected rise to fame, stating, “It was all silly to me. I’d been preparing to do *Hamlet* for ten years.”

Despite his success, Kilmer’s career had its ups and downs. Known for his striking looks, including a unique jawline and long blonde hair, he easily captivated audiences. By the 1990s, he was earning millions per film and landed lead roles in several significant productions.

Nevertheless, his journey was complicated by reports of difficult behavior on set, leading to a reputation that impacted his opportunities in the film industry. The peak of his career saw him transition into lower-budget films as his star faded, particularly following a battle with throat cancer that ultimately affected his voice.

The competition between his character, Tom “Iceman” Kazansky, and Cruise’s Pete “Maverick” Mitchell is central to *Top Gun*. While Cruise became one of the highest-paid actors globally, Kilmer faced increasing challenges in securing leading roles.

In a 1995 interview, Kilmer acknowledged Cruise’s business acumen, saying, “He must have a large capacity to deal with the business side of movies.” Unfortunately, Kilmer’s career trajectory was not as favorable.

His entry into acting began with a commercial at age 13, where he famously refused to produce an authentic performance for a cheeseburger ad, leading him to walk off set—an early signal of his commitment to artistic integrity.

Kilmer initially hesitated to take on the role of Iceman, viewing the script as frivolous and being opposed to the themes of warmongering depicted in the film. Yet, contractual obligations compelled him to participate. To enrich Iceman’s character, Kilmer created a backstory that showcased deeper motivations, suggesting that the character’s arrogance stemmed from a troubled relationship with his father.

Kilmer’s dedication to his roles was profound, particularly in portraying Jim Morrison in *The Doors* (1991). He spent an entire year embodying the famous singer, studying his movements and lifestyle to deliver a performance celebrated by critics, despite the film’s mixed reception.

While he missed out on an Oscar nomination for his acclaimed performance as Doc Holliday in *Tombstone* (1993), Kilmer delivered memorable scenes, notably preparing for the character’s deathbed scene with a creative approach.

By 1995, Kilmer’s career experienced a resurgence with a role in *Heat*, where he shared the screen with legendary actors Al Pacino and Robert De Niro. However, his portrayal as Batman in *Batman Forever* was not as well-received, largely overshadowed by his co-stars. He famously described the experience as more of a modeling job than acting due to the constraints of the costume.

Notable conflicts during productions further tarnished his reputation. Director Joel Schumacher commented on Kilmer’s behavior, suggesting he struggled with personal issues that impacted his professional life. Kilmer later passed on the chance to reprise his role as Batman in favor of a lead in *The Saint* (1997), which allowed him to showcase his versatility.

His project *The Island of Dr. Moreau* (1996) became infamous for its production troubles and tumultuous atmosphere, leading to a less-than-stellar collaborative experience with Marlon Brando.

Born on December 31, 1959, Kilmer faced significant personal challenges throughout his life, including the loss of his brother and struggles with relationships. His marriage to actress Joanne Whalley lasted from 1988 until their divorce in 1996.

Despite a decline in his health due to throat cancer, which he publicly battled, Kilmer found a way back to the screen, making a cameo in *Top Gun: Maverick* (2022) alongside Cruise. Their reunion underscored the physical contrast brought on by Kilmer’s illness.

In his later years, Kilmer embraced his creativity, sharing personal reflections and stories through various platforms. He described his journey as one of complexity: “I have behaved poorly. I have behaved bravely, bizarrely to some,” underscoring his self-perception as a sensitive individual with a penchant for humor.

Val Kilmer passed away on April 1, 2025, at the age of 65, leaving behind a legacy marked by both artistic achievement and personal challenges.

While Everett is generally not a pessimistic observer, he acknowledges that under Donald Trump’s leadership, the situation surrounding racial issues feels like a “one step forward, two steps back” scenario. With decades dedicated to exploring America’s racial challenges and the enduring impacts of slavery, he translates these complex themes into humor-infused novels. At 68, with over 30 books authored, he adopts a tone of wry observation rather than the loud voice of a typical activist.

Few authors would dare to reimagine America’s grim history of lynching in a comedic context, as he does in his novel The Trees, where rednecks are ensnared by black zombies. He also satirizes urban literature in an inventive framework involving a Classics-enthused professor penning a book titled My Pafology, which appears in his 2001 novel Erasure—recently adapted into the Oscar-winning film American Fiction, a sharp critique of the literary landscape. His newest work, James, features a hilariously outrageous scene where an African-American character dons “black face” to blend into an outdated minstrel group. Indeed, Everett is unafraid to navigate contentious topics.

This week, he celebrated winning the Pulitzer Prize for Fiction for James, a provocative reinterpretation of Mark Twain’s The Adventures of Huckleberry Finn, narrated from Jim’s perspective, the runaway slave.

The Pulitzer committee made an excellent decision. It was my favorite read of 2024 and has soared to the top of the US bestseller lists. Why? “It perhaps connects to the pushback against the efforts to erase history that we witness today,” he reflects during our fluctuating Zoom conversation from his home in Los Angeles. “But honestly, I can’t say for sure. If I knew, I could sell that insight to publishers.”

Those forces include Donald Trump, who Everett remarks is an “amazing example of how far a completely incompetent individual can rise.” He finds the nature of the Trump presidency so bizarre that it often defies satire, stating, “It’s so absurd that it leaves little room for a novelist’s imagination. How can you think of anything crazier than this?”

He continues, “The severity of it is alarming. The comparisons between the US today and Germany in 1933 are staggering. We have a populace increasingly lacking in education, where critical thinking about history is actively discouraged.”

As a distinguished professor of English at the University of Southern California, Everett feels particularly affected by Trump’s attacks on academic institutions, such as the administration’s withholding of funding for Harvard University.

“I’ve consistently maintained that popular culture would benefit more from intellectual heroes rather than mere superheroes. In the past, many lower-income individuals, especially poor white families, aspired for their children to attain a college education. Now, universities are viewed as the enemy, associated with elitism.”

“Some of this can be attributed to liberals,” he adds. “They’ve often dismissed those who supported Trump rather than engaging with them. However, how does one effectively converse with individuals who are irrational and uneducated? It’s an immense challenge. They are being swayed by those devoid of moral integrity, interested only in leveraging them for their own selfish agendas.”

When asked if he has read JD Vance’s memoir Hillbilly Elegy, which recounts his impoverished Appalachian childhood, Everett states, “No, and I have no intention of doing so. My understanding of him comes from observing his actions. He is deceitful and lacks a moral hub. He has capitalized on his past for financial gain and is now willing to abandon it for a taste of power.”

While discussing serious themes, Everett maintains a sense of humor, referring to himself as “pathologically ironic.” He expresses admiration for Mel Brooks’s 1974 comedy western, Blazing Saddles—renowned for its satirical approach to race. “Blazing Saddles addressed racial issues with a depth of intelligence that’s hard to find today. It had the freedom to poke fun at serious problems. I wonder if Brooks would be able to make it in the current climate,” he muses.

“Humor and irony have historically helped people endure dark times,” he explains. “Even amidst horror, there were moments of levity in the death camps as individuals found absurdity in their plight. This is how we navigate grim experiences—can you imagine if we were earnest all the time?”

He believes serious subjects like slavery can be treated with a light-hearted touch. He expresses deep appreciation for The Adventures of Huckleberry Finn, which he has read multiple times. Many educational institutions avoid teaching it due to its racially charged language. Should it be part of school curricula? “Absolutely. It’s the first narrative to feature a character representing an adolescent navigating the defining issue of American history—race. This makes it vital.” Remember, the 13-year-old Huck grapples with the reality that his friend Jim is someone else’s property.

“In numerous ways, [Twain’s novel] could be perceived as offensive, but should that prevent us from reading it? There are plenty of novels portraying women in ways that can be deemed less than fair, yet we keep reading them. The term nigger, it’s merely a six-letter word. What’s there to fear? Its power is not inherent. In Huck Finn, it’s contextually and historically appropriate. If I wrote a novel reflecting real life and had a racist character using the ‘n-word,’ how could anyone believe the rest of the story?”

Publishing often finds itself entangled in such controversies. Erasure skillfully critiques the expectations placed on the types of narratives that Black authors should produce, whether stories from an urban setting or tales from the antebellum era. Everett has never confined himself to these pigeonholes, which may explain why he gained widespread recognition only in his sixties. His literary range is diverse—ranging from Glyph, a 1999 novel narrated by a philosophical baby genius, to Frenzy (1997), a retelling of the Greek myth of Dionysus; and God’s Country (1994), a western parody; and I Am Not Sidney Poitier (2009), which tells the story of a man with a name that evokes a famous actor who was adopted by media tycoon Ted Turner.

“There’s a particular scene in Erasure that draws from my own life,” Everett recounts. “An editor at a gathering asked me, ‘What connection does Dionysus have with Black people?’”

“I believe there’s been improvement, with broader representation emerging, but the expectations remain persistent and subtle. A filmmaker friend of mine, who achieved success with a drama, continues to receive unsolicited offers to create biopics focused on George Floyd, which have no relation to her own interests or artistic direction.”

He highlights that publishing has adopted a narrative suggesting a monolithic “African-American experience,” neglecting the rich and varied realities similar to white America. Conversations about the white American experience seldom occur unless in the context of someone venturing into a challenging neighborhood.

American Fiction received an Oscar for Best Adapted Screenplay. With a discerning perspective, Everett approached the Oscars with a sense of anthropological curiosity, recounting, “Sometimes these award shows feel like an exploration.” He and his wife, Danzy Senna, also a writer, attended the after-party but left shortly after, saying, “Let’s go home.”

He perceives himself as somewhat of a public figure now, stating, “I haven’t reached the level of semi-fame yet; I’m just mildly present in the news. That’s sufficient for me. I would prefer to be absent from the headlines altogether and enjoy the small cult following I’ve heard about—the 15 people who buy my novels.”

Even with the Pulitzer win, he remains unphased. “Winning an award is wonderful—winning one every week would be even better—but comparing works of art is always a tricky endeavor. If the judges had convened on another day, perhaps someone else would have taken home the prize. And that’s perfectly okay.”

Everett has received two nominations for the Booker Prize—for James and The Trees—but he remains indifferent to the prestige of literary awards. Ironically, he expresses pride in winning the Bollinger Everyman Wodehouse Prize for comic fiction for The Trees, largely because it involved a pig named after the winning novel being brought to his home. “They organized for the farmer to deliver the pig to my residence. They constructed a pen in my front yard, and the pig made itself comfortable on my porch. It was quite a charming pig.”

Awards can be beneficial if they stimulate interest in fiction that enriches empathy and expands imagination. “Reading is one of the most subversive activities, which is why I am passionate about books. Engaging in a book club is another subversive act, fostering discussions about the meanings we derive from stories. Just picture the image of elderly ladies quilting, engaging in lively discussions about books in their clubs, blissfully transitioning from sewing to activism.”

“The most touching compliment I received regarding James was from a woman who told me her Republican father changed his views after reading it. Hearing that was far more rewarding than knowing how many copies sold. Ultimately, that’s the purpose of creating art—to touch someone,” he says.

When confronted with the earnestness of his statement, he jokes, “Don’t let anyone know I said that; it would tarnish my reputation.”

Percival Everett will discuss The Myth of Authenticity at the British Library on June 16.

Curriculum Vitae

Born: 1956, Fort Gordon, Georgia; son of a dentist

Education: Philosophy BA from the University of Miami

Career: His debut novel, Suder, was published in 1983. Notable works include Erasure, The Trees, and I Am Not Sidney Poitier. His recent work, James (2024), has earned the National Book Award, Kirkus Prize, Carnegie Medal for Excellence in Fiction, and the Pulitzer Prize for Fiction. It was also a Booker Prize finalist and contender for the PEN/Faulkner Award. He is a distinguished professor of English at the University of Southern California and has also worked as a rancher, training horses.

Family: Married to writer Danzy Senna, who teaches literature and creative writing at the University of Southern California. They have two sons, aged 18 and 16, along with two dogs.

Quick Fire?

Huckleberry Finn or Tom Sawyer? I dislike Tom Sawyer. He’s such an insufferable character when he intrudes into Huck Finn’s tale.

Golf or snooker? Snooker. As Mark Twain noted, “Golf is simply a good walk spoiled.”

Anora or Conclave? Neither. Anora feels like class elitism. “Look at the poor low-class girl—let’s pity her.” Conclave was merely tedious; it took longer than it needed to.

Pulitzer Prize or Booker Prize? Neither. The Bollinger Everyman Wodehouse Prize for comic fiction reigns supreme.

This bustling space is not a club in the early hours; rather, it is the start of the monthly barn dance at the Round Chapel, a stunning grade II* listed site where attendees kick, clap, and dance with abandon.

“It’s honestly like a drug,” exclaims Lizzy Faulkner, 25, an NHS doctor, who admits this is her seventh time attending. “It just keeps getting better — it’s like my monthly dose of serotonin.”

Lizzy is among a wave of individuals in their twenties and thirties seeking out the fun and connection that barn dances provide. Over the past year, a surge of barn dance-inspired events such as themed nights, classes, and social gatherings has emerged across London, reflecting a revival particularly embraced by Gen Z.

While the imagery of cowboy hats and bales of hay may come to mind, barn dances are not just American traditions or limited to country music. They are often synonymous with ceilidhs, both defined as sociable dance gatherings featuring partner rotation and circular patterns, guided by a caller who directs participants seamlessly through the moves, fostering accessibility for all.

The monthly barn dances at the Round Chapel, organized by the musical collective Cut a Shine, have seen an incredible increase in popularity, with tickets selling out weeks ahead.

Due to the overwhelming demand, the organization has expanded to host multiple dances over single weekends. For instance, during Burns Night weekend in January, they organized four events, selling a total of 1,200 tickets, along with an additional 450 individuals on the waiting list.

“This season has gone a bit bonkers,” remarked Joe Buirski, 47, director and banjo player at Cut a Shine. “Our audience has shifted from a few friends to predominantly 25 to 35-year-olds.”

The group initially began hosting ceilidhs two decades ago to encourage early attendance at their parties. They soon realized attendees were primarily interested in the dancing rather than the later festivities, prompting them to establish a barn dance residency in Finsbury Park.

Buirski attributes the rising interest among younger crowds to the structured nature of barn dancing, which eliminates the awkwardness often felt in free-form movements typical at raves or parties. “Here, it doesn’t matter how you dance — everyone’s engaged in the same experience,” he explained.

Jo Bowis, the dance caller for Cut a Shine for 15 years, believes the appeal lies in the human connection these dances foster. “In a digital age where young people often lack physical touch in their lives, barn dances create opportunities for real-world interaction,” she noted.

A recent survey revealed that 61 percent of individuals aged 18 to 25 reported experiencing “profound loneliness.” It’s no surprise, then, that young people are drawn to dance halls, where hand-holding with strangers is socially accepted and even expected.

Partnering up might even lead to romantic connections. Connor Newall-Gray, 21, co-founder of the ceilidh society at Imperial University, recounted how he met his girlfriend, Rosie Green, at the society’s inaugural dance. “We had to choose a partner at the start, and I ended up with Rosie for most of the evening. I probably wouldn’t have met her otherwise,” he shared.

Newall-Gray, who was also president of the football society last year, noted that the ceilidh society attracted more members, drawing 148 sign-ups in its first year.

Initially, many participants shared similar names reflecting the dance’s Celtic heritage, yet the events have become progressively inclusive, welcoming attendees from diverse backgrounds.

For students, the notion of dancing without alcohol may seem uncommon. However, with 27 percent identifying as teetotal, barn dances are becoming a favored choice for alcohol-free fresher events and university socials.

The phenomenon in London reflects a national trend. Bowreed, a ceilidh band from Bristol, hosted 173 events last year, while the Ceilidh Tree performed roughly 200 times across various locations, from Cornwall to Northumberland.

A club night named Yeehaw has recorded over 60,000 ticket sales since its inception in January 2022, orchestrating 300 gatherings in 32 cities, including Newcastle and Leeds.

Additionally, there has been a surge in LGBTQ+ line-dancing clubs, such as the Cactus Club, which transforms the Two Brewers pub in Clapham into a Nashville-inspired venue every Tuesday night.

Founded by Peter Flockhart in 1993, the Cactus Club has witnessed significant growth in recent years, largely welcoming younger individuals in their twenties and thirties.

Flockhart notes that while line dancing can indeed take place in barn settings, the styles differ greatly. “It’s like comparing tap and ballet. Line dancing primarily focuses on the feet, whereas ceilidh involves more hand and arm movements,” he explained.

Although primarily designed for the LGBTQ+ community, Flockhart emphasizes that the club is inclusive for all. Participants need not arrive with partners, and dance pairings are designed to be gender-neutral.

When discussing the influx of Gen Z participants, he stated, “It seems young people are eager to engage in activities — we’re not introducing anything new.”

“The essence of social dancing has always existed, and it’s fantastic to see it gain renewed interest,” he added.

George Bernard Shaw’s play focuses on Kitty Warren, a brothel keeper who attempts to forge a relationship with her independent daughter. The original production stirred controversy upon its release, as Shaw’s perspective on sex as a business challenged the moral standards of his era. It took three decades following its creation before the play was publicly performed in London in 1925.

The current challenge lies in making this historical narrative resonate with modern audiences. Shaw’s dialogue often feels didactic, resembling formal debates found at the Oxford Union, and this dense exchange can feel overwhelming. Even with Cooke’s efforts to streamline the text, the essence of Shaw’s imposing voice remains pervasive.

Staunton, despite her remarkable talent, faces the difficulty of stepping out from Shaw’s considerable shadow. A compelling dynamic with her real-life daughter, Bessie Carter, adds an intriguing layer to the performance. Carter, known for her standout role in the National Theatre’s production of Dodie Smith’s Dear Octopus, brings a strong portrayal of Vivie, a bright young woman gradually uncovering the origins of her privileged life.

In his introduction, Cooke likens the play’s structure—performed here without an intermission—to a Greek tragedy. Much of the staging occurs on Chloe Lamford’s stylized podium adorned with flowers, while a silent chorus of young women in undergarments marks scene transitions by interacting with the floral decor.

While the symbolism can feel overly deliberate, aside from Robert Glenister’s depiction of the crude businessman Sir George Crofts, the male characters surrounding Kitty and Vivie appear as a neatly arranged set of viewpoints. The rare moments when Kitty’s voice breaks reveal the effort she has invested in her rise. Nonetheless, genuine emotional turmoil only emerges during her climactic confrontation with Vivie.

★★★☆☆
105 minutes
To Aug 16