‘The Cauldron: The Making of the Modern Middle East’ by Simon Sebag Montefiore
Simon Sebag Montefiore’s latest best seller is “a triumph of blood-and-thunder narrative history,” said Sean McMeekin in The Wall Street Journal. At a time when conflict in the Middle East is again touching lives around the world, the British historian has delivered a sweeping and energetic account of the region’s turbulent last 125 years. Beginning in 1902, when the young prince Ibn Saud seized Riyadh to puncture Ottoman dominance, “Montefiore doesn’t play favorites, subjecting all his characters to scrutiny.” We get British and French meddling during and after World War I, the dramatic reset brought on by the next global conflict, and Cold War machinations that enflamed new conflicts. Then comes the 1979 Iranian Revolution, which Montefiore characterizes as epochal in its impact. “Not all his stories are original,” of course, “but he enriches them with fascinating details.”
“While vast in scope, The Cauldron is written in a way that is equally accessible to regional experts and neophytes,” said Jonathan Harounoff in the New York Post. Often, his story is carried by “the compelling and, at times, insidious characters who helped forge the Middle East we know today.” Jassim bin Mohammed Al Thani, Qatar’s founding emir, sired 56 children. King Farouk, who ruled Egypt for 16 years, was addicted to gambling, food, and sex. As Montefiore marches readers though various crises and flashpoints, said Mark Urban in The Times (U.K.), he shows a determination to nail down which actors deserve blame. “Time and again,” he shows that the region’s leaders have been more than mere puppets, having more agency than self-regarding Westerners might suspect. And though he rips into Iran’s Ayatollah Khomeini, today’s Israeli right wing, and many other regional players, “this is not a polemic but a work of history in which his judgments are rooted in deep research.”
The astonishing scope of the book is “both its greatest strength and its principal weakness,” said Sam Kiley in The Independent (U.K.). At his best, Montefiore “can make a complicated political order suddenly legible through a few deft sentences,” but the pileup of rulers, coups, and wars at times becomes “so dense that the reader can struggle to retain a firm sense of causation.” He also “distributes sympathy unevenly,” favoring pragmatists over fervent believers and, subtly, Israelis over Palestinians in the Middle East conflict that so often looms largest in the minds of outsiders. Montefiore is “too candid about Israeli wrongdoing to be described as an apologist.” Better yet, he’s written a book that anyone could learn from. “Its scholarship, range, and vitality make it an impressive achievement.”
‘Death of an Ordinary Man’ by Sarah Perry
“Death of an Ordinary Man is not a remarkable story,” said Amy Bloom in The New York Times. “What is remarkable is this book.” In 2022, a 77-year-old man was diagnosed with esophageal cancer and died nine days later. Because the man was her father-in-law, British novelist Sarah Perry watched that small drama unfold at close range after she and her husband moved in to provide 24-hour care. In Perry’s attentive account of those nine days, “there are no celestial visits, no shocking reconciliations.” Instead, there’s incontinence, there’s paperwork, and there are good and bad medical people—“all the things people ordinarily don’t write about.” Those details belong in this gift of a work, though, because “Perry’s entire point is that this condition of being alive includes, inevitably and properly, the process of dying.”
In speaking of her own experience in those final days, Perry “captures the feeling of existing in a strange, panicked void,” said Karin Altenberg in The Wall Street Journal. Perry and her husband, Robert, both previously busy with other things, suddenly find themselves caretakers sleeping on the floor of their patient’s bungalow. The world outside ceases to exist as nurses, relatives, and clergy visit. Meanwhile, Perry and Robert are figuring the logistics of end-of-life care in real time straight through to their charge’s final breath. Many of us are likely to find ourselves in a similar situation one day, and through her “deeply tender” account, Perry has “extended a hand to the reader with profound grace.
“It’s not easy to account for what makes this book so special,” said Joe Moran in The Guardian (U.K.). David Perry, the ostensible subject, was such a content, reserved Englishman that “some may even find him a little boring.” In part, Perry’s beautifully written book “works its magic through the adamantine detail and quiet lyricism with which it recounts a particular, unrepeatable life.” More than that, though, “what makes this book gem-like is that it succeeds in conveying the reality of death as this monumental, mythic thing that coexists surreally with the mundane world of council bin collections.” Though the breakdown of David’s body isn’t dignified, Perry notices that it’s also transfiguring, right down to this ordinary man’s fingertips.