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Adams, Matthew

Matthew Adams is a freelance writer, and is frequently published in a number of publications including the Spectator, the Literary Review, the Independent and the Guardian.

articles by, [44] 33; [47] 39; [49] 51

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20160301104954 Anna Trench. Matthew Adams on F.M. Cornford

Wisdom from the Ivory Tower

Matthew Adams on F. M. Cornford, Microcosmographia Academica: Being a Guide for the Young Academic Politician

The title, which translates as ‘A Study of a Tiny Academic World’, refers to the enclave that was Cambridge University in the 1900s, at which time Cornford was a fellow of classics at Trinity College (where he had been an undergraduate in the late nineteenth century). There was much about this world that he disliked, and many of these dissatisfactions can seem rather minor and arcane. But his principal and most important objections ‒ objections from which Microcosmographia Academica would arise ‒ were related to such minutiae.
20150901161224 William Stobbs illustration - Ronald Welch, Escape from France

Joining the Grown-ups

Matthew Adams on Ronald Welch, Escape from France & Nicholas Carey

Revisiting the Carey novels today, I am struck by how fresh and magnetizing they have remained, and by how much there is in these books – as there is in all good children’s literature – that can be enjoyed by adults. It is common for readers of Welch to credit him with sparking a love of history (I know an Oxford scholar of medieval literature who says she owes her career to Welch); what we hear less often is how subtle and careful his use of history can be. Escape from France and Nicholas Carey work brilliantly as historical fiction because the history with which they are suffused is always given a human face.
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The Importance of Being Decent

Matthew Adams on E. M. Forster, Two Cheers for Democracy

In January 1939, as Europe was convulsing to the rhythms of what George Orwell would call ‘the tom-tom beat of a latter-day tribalism’, W. H. Auden, Christopher Isherwood and E. M. Forster were gathered at Waterloo Station. It was a solemn occasion. Auden and Isherwood were about to leave the country of their birth for the United States, where, several months later, Auden would compose ‘September 1, 1939’, the ominous poem in which he would look back on ‘the low dishonest decade’ he had just lived through, and tremble at the one to come. Auden and Isherwood attracted much criticism for their decision to leave England at so crucial an hour, yet Forster refused to abandon his friends. As he bade them farewell at Waterloo, he told them that it was now their duty to ‘keep away’ and ‘see us sink from a distance’. It would be his duty, he continued, ‘to face a world which is tragic without becoming tragic myself ’.

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