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The Confessions of Samuel Pepys by Guy de la Bédoyère review – sex and the city

Newly decoded extracts from his diaries expose the celebrated 17th-century diarist and naval administrator as a rapacious sexual predator

Samuel Pepys’s diary, which covers 1660 to 1669, is regarded as one of the great classic texts in the English language. Words spill out of Pepys – 1.25m of them – as he bustles around London, building a successful career as a naval administrator while navigating the double trauma of the plague and the Great Fire of London. Historians have long gone to the diary for details of middle-class life during the mid‑17th century: the seamy streets, the watermen, the taverns and, as Pepys moves up the greasy pole, the court and the king. Best of all is his eye for the picturesque detail: the way, for instance, on the morning of 4 September 1666, as fire licks around his house, Pepys buries a choice parmesan cheese in the garden with the intention of keeping it safe.

Not all of the diary is in English, though. Quite a lot of it is in French (or rather Franglais), Latin, Spanish and a curious mashup of all three. Pepys increasingly resorted to this home-brewed polyglot whenever the subject of sex came up, which was often. Indeed, sex – chasing it, having it, worrying about getting it again – dominated Pepys’s waking life and haunted his dreams, many of them nightmares. Putting these anguished passages in a garbled form not only lessened the chance of servants snooping, but also served to protect him from his own abiding sense of shame. As an extra layer of concealment, Pepys wrote “my Journall” using tachygraphy, an early form of shorthand.

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Caleb Azumah Nelson: ‘Virginia Woolf’s London is the London I know’

As Mrs Dalloway turns 100, the novelist celebrates a classic about love, loss and the irresistible allure of the capital

It’s always a surprise when ecstasy arrives. Recently, I’ve found myself waking early, with dawn on the horizon. I think it might be beautiful to catch the sunrise, and in those quiet moments, I am reminded of the bustle of the city, or a lover’s hand in mine, or the words that I couldn’t quite say, and, looking back towards the sky, find the sun already risen. I rue that I’ve missed it; I’m surprised it arrived so quickly. But for a moment, the light shines bright; and briefly, the parts of myself I don’t always get to are illuminated. In these moments, I’m reminded of our aliveness.

Much of my writing practice is concerned with closing the gap between emotion and expression. The sense of loss in this chasm is inevitable; it’s impossible to translate the excitement of seeing a loved one across the room, or the bodily jolt that arrives when you pass a friend on the street and realise you have become strangers. But still, I try to write, as Virginia Woolf did, not so much concerned with knowledge, but with feeling. And since language won’t always get you there, I employ music, rhythm.

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The end of the road? What The Salt Path scandal means for the nature memoir

It wasn’t the first hit memoir to tell a story of redemption inspired by the great outdoors – but could it become one of the last? Authors and publishers assess the damage

When The Salt Path came out in 2018, it was a publishing phenomenon, going on to sell more than 2m copies globally. As even those who haven’t read it are likely to know by now, the book charted Raynor Winn and her husband Moth’s emotionally and physically transformative long-distance walk along the South West Coast Path in the wake of utter disaster: a financial collapse that cost them their home, and Moth’s diagnosis with an incurable neurological disorder. Winn followed it with two further books in a similar vein, The Wild Silence and Landlines, also bestsellers. Earlier this year came a film of The Salt Path, starring Gillian Anderson and Jason Isaacs. That original book by a first-time writer had become what writers, editors and booksellers all dream of: a bestselling, spin-off generating brand.

But it wasn’t the first nature memoir to top the charts, by any means. In 2012, Wild by Cheryl Strayed described the 26-year‑old’s hike across the west coast of America in the wake of her mother’s death and the end of her marriage, and after soaring up the book charts it was made into a film starring Reese Witherspoon two years later. That same year, H Is for Hawk by Helen Macdonald was a surprise bestseller, telling the story of a year spent training a Eurasian goshawk as a journey through grief after the death of their father. In 2016, Amy Liptrot’s The Outrun saw her return to the sheep farm on Orkney where she’d grown up in order to recover from addiction through contact with nature; it was also recently filmed, with Saoirse Ronan in the lead role. Meanwhile, in last year’s bestselling Raising Hare, foreign policy adviser Chloe Dalton describes moving to the countryside, rescuing a leveret and rediscovering her relationship with the land.

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‘A psychological umbilical cord’: Why fiction loves difficult mothers

As the film of Deborah Levy’s novel Hot Milk is released, author Abigail Bergstrom explores the literary fascination with inaccessible, emotionally distant maternal figures

‘My love for my mother is like an axe,” the narrator of Deborah Levy’s 2016 novel Hot Milk tells us. “It cuts very deep”. Set in the Spanish coastal city of Almería, the book – which has now been made into a film starring Sex Education’s Emma Mackey – is a sun-drenched unravelling of a daughter tethered to her ailing mother.

Hot Milk fits into a growing canon of literature exploring the absent, or fading, or otherwise inaccessible mother – stories in which the maternal figure is pulled to the edge of the frame, so that the daughter can take centre stage. Books such as Gwendoline Riley’s My Phantoms and First Love, both featuring mother-daughter relationships marked by emotional distance and strained communication. Or The Lost Daughter by Elena Ferrante, where the protagonist, Leda, is both unseen daughter and deserting mother, a collision that unleashes emotional chaos.

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Lucy Foley: ‘Angus, Thongs and Full-Frontal Snogging didn’t talk down to teenage girls’

The crime author on rediscovering Edith Wharton, and the brilliantly twisted author who changed her ideas about writing

My earliest reading memory
I have a distinct memory of sitting by the bookshelves in the first house we lived in and suddenly realising I could understand the words in lots of the books. It was like discovering I could perform magic – pulling out one book after the other and disappearing into other worlds. I bumped into a childhood friend the other day who told me she remembers being annoyed when I came for a play date at her house and the first thing I wanted to do was see if she had any books I hadn’t read.

My favourite book growing up
I loved Jill Barklem’s Brambly Hedge series as a girl. The exquisite intricacy of the pictures, their evocation of a hidden world … I’m enjoying rediscovering them with my four‑year‑old. The High Hills has a wonderful, Tolkien-esque quest element to it.

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Authority: Essays on Being Right by Andrea Long Chu review – scorching hot takes

The Pulitzer-winning critic has some choice words for the likes of Zadie Smith, Hanya Yanagihara and Bret Easton Ellis

Andrea Long Chu stands accused of not playing by the rules, of appraising works of fiction as if they were essays or confessions rather than aesthetic objects. “It is true that I tend to treat a novel like an argument”, she writes in the introduction to Authority, a collection of essays and reviews published between 2018 and 2023 in outlets such as N+1, Bookforum and New York Magazine. Long Chu – who won a Pulitzer prize for criticism in 2023 – believes “all novels refract the veiled subjectivity of their authors”, and to pretend otherwise is to indulge a “pernicious form of commodity fetishism”. In her reviews, books betray their authors, invariably revealing some kernel of inadequacy – be it immaturity, myopia or just terminal dullness.

This approach borders on the psychoanalytical, and makes for fun reading. Long Chu diagnoses a case of “Munchausen by proxy” in Hanya Yanagihara, whose bestselling novels A Little Life (2015) and To Paradise (2022) are powered by “the misery principle”: “horrible things happen to people for no reason”, and the author is “a sinister kind of caretaker, poisoning her characters in order to nurse them lovingly back to health”. She notes a troubling tendency towards “infantile” idealisation of mothers and girlfriends in Tao Lin’s autofiction, and finds “something deeply juvenile” about the scatological motifs in Ottessa Moshfegh’s novels. Moshfegh’s medieval gore-fest Lapovona (2022), fails to shock, because “You cannot épater le bourgeois without an actual bourgeoisie”; “the leading coprophile of American letters” is trying too hard to convince us she’s not a prude.

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Allan Ahlberg, beloved children’s author, dies aged 87

Working first with his wife Jane, and later with illustrators including Raymond Briggs and Bruce Ingman, he wrote more than 150 books

Author Allan Ahlberg, who delighted generations of children with colourful characters and nimble rhymes, has died aged 87.

Working with his wife Janet, an award-winning illustrator, Ahlberg produced a host of bestselling nursery classics including Burglar Bill, Peepo!, and Each Peach Pear Plum. After Janet’s death in 1994, he worked with illustrators such as Raymond Briggs and Bruce Ingman, with his career coming full circle in a series of collaborations with his daughter Jessica including Half a Pig and a pop-up set of anarchic variations on the tale of Goldilocks.

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What we’re reading: writers and readers on the books they enjoyed in July

Writers and Guardian readers discuss the titles they have read over the last month. Join the conversation in the comments

The user-friendly short chapter format of Nicci Cloke’s Her Many Faces, designed for our internet-lowered attention spans, obscures the fact that this page-turning, multiple viewpoint thriller is actually a densely plotted novel full of amazing twists. This is the book you want to take on a long, boring journey you’re dreading. You’ll pray you finish it before you arrive at your destination.

Men in Love by Irvine Welsh is published by Jonathan Cape (£20). To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply.

Faber has reissued Barbara Kingsolver’s titles The Lacuna, Flight Behaviour and The Poisonwood Bible.

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Dreaming of Dead People by Rosalind Belben review – rivals anything by Virginia Woolf

More than 40 years on from its first publication, this exploration of one woman’s thoughts and fantasies is a gem worthy of rediscovery

There’s no getting around it: Dreaming of Dead People is an extremely strange book. Born in 1941, Rosalind Belben was first published in the 1970s; this, her fourth novel, first came out in 1979. Her eighth and most recent, Our Horses in Egypt, won the James Tait Black award in 2007.

Dreaming of Dead People might best be described as an early example of autofiction: its narrator, Lavinia, is the same age as Belben was at the time of writing, and she recalls a similar childhood in Dorset, including a father who was a Royal Navy commander and who was killed when she was three. Belben has described the book as “a study of the human figure”, and given its parallels with her own life story and its raw and deeply personal style any reader could be forgiven for assuming that the figure is her own.

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When the Cranes Fly South by Lisa Ridzén review – a novel anyone will take to heart

A huge hit in Sweden, this portrait of one man and his dog as the end approaches is a simple yet effective meditation on mortality, love and care

Lisa Ridzén’s debut, which has been a runaway success in her Swedish homeland and elsewhere, demonstrates how sometimes the simplest storytelling can be the most effective. This is a novel with no clever structural devices or burden of symbolism and a setting so limited geographically that the reader ends up knowing precisely where everything is.

It is narrated by Bo, a former timbermill worker who has reached the age when people worry about him, and has a network of carers calling in three times a day. One of Ridzén’s inspirations was the team journal kept by the carers looking after her dying grandfather; very movingly, bulletins from the journal of Bo’s carers punctuate his narrative, the alternative perspective like a chill breeze through a briefly opened door.

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