Alan Bennett's award-winning series of six television monologues, Talking Heads, may have been first aired in 1988, but over a decade later it is still impossible to read these deeply moving and affectionate scripts without hearing the voices of the actors who played them. Maggie Smith as the alcoholic vicar's wife finding a semblance of happiness in an affair with an Indian shop owner, Patricia Routledge as the poisonous neighbour, Julie Walters as the over-the-hill dolly bird auditioning for a porn film and of course Thora Hird as Doris, the old lady alone in her home having fallen and broken her hip. All great performances and all made possible by Bennett's wonderfully observant and poignant scripts. Bennett rightly notes in his introduction to the pieces that, maybe apart from Doris, his narrators are artless in that they "don't quite know what they are saying and are telling a story to the meaning of which they are not entirely privy". But through their artlessnes they reveal more about Britain today and the stresses and strains placed upon ordinary people, than any number of docu-soaps that now claim to show us real life. -Nick Wroe.

What on earth is Bill Bryson doing writing a book of popular science-A Short History of Almost Everything? Largely, it appears, because this inquisitive, much-travelled writer realised, while flying over the Pacific, that he was entirely ignorant of the processes that created, populated and continue to maintain the vast body of water beneath him. In fact, it dawned on him that "I didn't know the first thing about the only planet I was ever going to live on". The questions multiplied: What is a quark? How can anybody know how much the Earth weighs? How can astrophysicists (or whoever) claim to describe what happened in the first gazillionth of a nanosecond after the Big Bang? Why can't earthquakes be predicted? What makes evolution more plausible than any other theory? In the end, all these boiled down to a single question-how do scientists do science? To this subject Bryson devoted three years of his life, reading books and journals and pestering the people who know (or at least argue about it); and we non-scientists should be pretty grateful to him for passing his findings on to us. Broadly, his investigations deal with seven topics, all of enormous interest and significance: the origins of the universe; the gradual historical discovery of the size and age of the earth (and the beginnings of the awesome notion of deep time); relativity and quantum theory; the present and future threats to life and the planet; the origins and history of life (dinosaurs, mass extinctions and all); and the evolution of man. Within each of these, he looks at the history of the subject, its development into a modern discipline and the frameworks of theory that now support it. This is a pretty broad brief (life, the universe and everything, in fact), and it's a mark of Bryson's skill that he is able to carve a clear path through the thickets of theory and controversy that infest all these disciplines, all the while maintaining a cracking pace and a fairly judicious tone without obvious longueurs or signs of haste. Even readers fairly familiar with some or all of these areas of discourse are likely to learn from A Short History. If not, they will at least be amused-the tone throughout is agreeable, mingling genuine awe with a mild facetiousness that often rises to wit. One compelling theme that appears again and again is the utter unpredictability of the universe, despite all that we think we know about it. Nervous page-turners may care to omit the sensational chapters on the possible ways in which it all might end in disaster-Bryson enumerates with cheerful relish the kind of event that makes you want to climb under the bedclothes: undetectable asteroid colliding with the earth; superheated magma chamber erupting in your back garden; ebola carrier getting off a plane in London or New York; the HIV virus mutating to prevent its destruction in the mosquito's digestive system. [+]

Bill Bryson is an unabashed Anglophile who, through a mistake of history, happened to be born and bred in Iowa. Righting that error, he spent 20 years in England before deciding to repatriate: "I had recently read that 3. 7 million Americans according to a Gallup poll, believed that they had been abducted by aliens at one time or another, so it was clear that my people needed me. " That comic tone enlivens this account of Bryson's farewell walking tour of the countryside of "the green and kindly island that had for two decades been my home. ".

First published in the London Review of Books in 1996, TheClothes They Stood Up In takes the reader into familiar Bennett territory. Maurice and Rosemary Ransome are a typically dissatisfied, middle-aged, middle-class couple, childless and emotionally withdrawn. "They had no children and but for Mozart would probably have split up years ago. Mr Ransome always took a bath when he came home from work and then he had his supper. After supper he took another bath, this time in Mozart". However, one night, after returning from a performance of Cosi fanTutte, bath, supper, Mozart and everything disappeared. "There is a limit to what burglars can take: they seldom take easy chairs, for example, and even more seldom settees. These burglars did. They took everything". What unfolds is a brilliant account of the ways in which the lives of the Ransomes are subtly but profoundly changed forever, as Rosemary discovers the joys of shopping at the local Pakistani shop and the limits of counselling, and Maurice fantasises about new CD equipment with which to listen to Mozart. [+]

Alan Bennett's award-winning series of six television monologues, Talking Heads, may have been first aired in 1988, but over a decade later it is still impossible to read these deeply moving and affectionate scripts without hearing the voices of the actors who played them. Maggie Smith as the alcoholic vicar's wife finding a semblance of happiness in an affair with an Indian shop owner, Patricia Routledge as the poisonous neighbour, Julie Walters as the over-the-hill dolly bird auditioning for a porn film and of course Thora Hird as Doris, the old lady alone in her home having fallen and broken her hip. All great performances and all made possible by Bennett's wonderfully observant and poignant scripts. Bennett rightly notes in his introduction to the pieces that, maybe apart from Doris, his narrators are artless in that they "don't quite know what they are saying and are telling a story to the meaning of which they are not entirely privy". But through their artlessnes they reveal more about Britain today and the stresses and strains placed upon ordinary people, than any number of docu-soaps that now claim to show us real life. -Nick Wroe.

Life imitates art in The Lady in the Van, the story of the itinerant Miss Shepherd, who lived in a van in Alan Bennett's driveway from the early1970s until her death in 1989. It is doubtful that Bennett could have made up the eccentric Miss Shepherd if he tried, but his poignant, funny but unsentimental account of their strange relationship is akin to his best fictional screen writing. Bennett concedes that "One seldom was able to do her a good turn without some thoughts of strangulation", but as the plastic bags build up, the years pass by and Miss Shepherd moves into Bennett's driveway, a relationship is established which defines a certain moment in late 20th-century London life which has probably gone forever. The dissenting, liberal, middle-class world of Bennett and his peers comes into hilarious but also telling collision with the world of Miss Shepherd: "there was a gap between our social position and our social obligations. It was in this gap that Miss Shepherd (in her van) was able to live". Bennett recounts Miss Shepherd's bizarre escapades in his inimitable style, from her letter to the Argentinean Embassy at the height of the Falklands War, to her attempts to stand for Parliament and wangle an electric wheelchair out of the Social Services. Beautifully observed, The Lady in the Van is as notable for Bennett's attempts to uncover the enigmatic history of Miss Shepherd, as it is for its amusing account of her eccentric escapades. -Jerry Brotton.