In The Observer, David Mitchell (see past clarifications) points out the essential redundancy of Michelin stars and restaurant ratings in general, which – since I’ve just completed my annual trawl of Bangkok’s toppermost eateries – feels like rather a low blow. And then he extends the argument to films and implicitly to all forms of criticism, which makes me feel as if I ought to pack this whole blog in and take up pottery. My pots would be very bad, but nobody would be able to say so, or if they did, their criticism would count for nothing.
But then he says something that strikes rather less viciously at the heart of my own intellectual existence, although it’s a bit rude about someone else’s:
People say that we tend to read the books that impress or move us most before the age of 25. Not because we read less in later life but because we get too sophisticated to be so easily awestruck. Once you've read Great Expectations, anything you subsequently read would have to be even better than Great Expectations to impress you to the same extent as Great Expectations did – it would have to compensate for your greater expectations as a result of having read Great Expectations. That’s asking a lot of Nick Hornby.
Which must annoy Nick Hornby, not least because amidst all the Top 10 lists that peppered High Fidelity, there wasn’t one of The Top 10 Records/Films/Books That I First Heard/Saw/Read After My 25th Birthday. And it’s certainly true in my case: the stuff that remains pretty much constant when people ask me “What’s your favourite...” (and yes, I’m such a social imbecile that that’s pretty much the only way people can draw me into conversations when they meet me) is mostly what I encountered in my teens, and a lot of it was already old by that time: Aretha Franklin and the Velvet Underground; Casablanca and A Bout de Souffle; Evelyn Waugh and TS Eliot. The things I discovered later often have a rather more floppy grasp on my affections, and drift in and out. Many of them, inevitably, have been created more recently (69 Love Songs, by The Magnetic Fields; Thomas Vinterberg’s Festen; The Unconsoled, by Kazuo Ishiguro) but it’s worth noting that all of those are well over a decade old. Add to that selection the things that I’ve experienced only recently, even though they’d been under my nose all this time (Messiaen’s Turangalîla; Kurosawa’s Ikiru; The Great Gatsby) and it’s pretty clear that my critical tastebuds are ageing even more rapidly than the rest of me.
That’s as maybe, as we old farts say. What, if anything, entered your own aesthetic hit parade after your first quarter century was up? Or, if by some bizarre quirk of nature, someone under the age of 25 is actually reading this, where did I put my keys?
That’s as maybe, as we old farts say. What, if anything, entered your own aesthetic hit parade after your first quarter century was up? Or, if by some bizarre quirk of nature, someone under the age of 25 is actually reading this, where did I put my keys?