Homework

Geoff Dyer is a year older than me. He was born and raised in Cheltenham, less than a hundred miles from London where I grew up. His delightful memoir of childhood, Homework, describes a world that in many respects has vanished, though not from the memories of those who were children in England in the 1960s and 1970s. The pleasures evoked by the book for Dyer’s contemporaries, like me, are a lot to do with recognition and memory. Airfix models, Action Man, the arrival of the first color televisions, playing football in the school playground, discovering one’s tastes in music and books, horrible food: these things were important parts of our lives in much the same way that memoirs in forty years will feature social media, mobile phones, and the launch of Netflix.

Dyer is very good at poking fun at his parents, his wider family, his friends, and himself, but it’s all done in such an affectionate, tolerant and forgiving way. In fact, it’s the tone of Homework that lingers long after the final page is turned, not just the stories and the personal memories that surface because of them. He recalls his childhood with just the right balance of affection, nostalgia, and embarrassment. He’s never cruel or sentimental and knows how fortunate he is to have loving (though never demonstrative and occasionally infuriating) parents and to have been raised in a safe and comfortable place. Homework is also very funny, at least to those of us who grew up at the same time.

Life in Progress

Hans Ulrich Obrist is a celebrated curator and gallery director. He is currently Artistic Director of the Serpentine Galleries in London. His professional success, at least on the basis of this autobiography, seems to owe as much to determination, drive, hard work, and imagination as it does to any formal training in art history or curation. All very commendable, not least because I imagine the world in which he operates is very competitive.

His professional life has been an interesting one so far (he is only 57), filled with encounters with many of the world’s greatest artists. He has thought deeply about exhibition making and the role of curators in the artistic process. Life in Progress is the story of those experiences and thoughts. Unfortunately, Obrist is no writer. The prose here is flat and lifeless, and the effect of that is occasionally to render a life filled with achievement and insight as something bland and trite. Surely he could, like many others, have found a ghost writer or collaborator. It would have been a far better book if he had.