Sam Kinchin-Smith

After eighteen months of memoir-writing in his £25,000 shepherd’s hut, interrupted now and then by lucrative international speaking engagements on the implications of the political mess that he made, David Cameron yesterday returned to a British podium for the first time since the morning of 24 June 2016 to attack three easy targets: Trump, Putin and Fifa. In a lecture to Transparency International, he looked ahead to next year’s World Cup in Russia, and back to the bidding process that took place in 2010. ‘President Putin actually boycotted the whole thing because he said it was riddled with corruption,’ the Guardianreports Cameron as having said. ‘He was right – it was.’

‘Trains show us that freedom and constraint are a matter of dosage,’ Patrick McGuinness wrote recently in the LRB. He quoted Klaus Kinski’s character in the 1966 film of Dr Zhivago, ‘shaking his chains, an anarchist headed for the camps’: ‘I am the only free man on this train. The rest of you are cattle!’ ‘Soul’, a poem Pasternak wrote in 1956, is one of 20 on display in another meditation on poésie des departs, in Bloomsbury Square until tomorrow.

Jeremy Corbyn’s middle name is Bernie. A friend posted a picture of his Islington North postal ballot paper on Facebook the other day, and there, between ‘CLARK, James Tovey’ and ‘FOSTER, Michael Adam’, was ‘CORBYN, Jeremy Bernard’. It's odd that nobody seems to have pointed this out when Bernie Sanders was over here last week, promoting his new book.

The first time I saw one of Kaya Mar’s paintings was at the March for Europe a week after the Brexit vote. I took a picture of him, as did many of the people he walked past: a small man with a neat moustache carrying a peculiar painting, apparently original, of a cart being pulled by a blindfolded donkey towards the edge of the white cliffs of Dover, driven by caricatures of Boris Johnson and Nigel Farage, with tiny naked bodies and beatific faces.

Whenever Nick Cave launches a new project in London, the same group of respectable goths and men in silk shirts find themselves together again, and recognition flickers – because you met this person last time, or you catch a glimpse of Ray Winstone again, or Will Self. It was like that at Her Majesty’s Theatre in 2013, when the Bad Seeds played Push the Sky Away in full for the first time; and at the Barbican in 2014, for a gala preview of Iain Forsyth and Jane Pollard’s film about Cave’s 20,000 Days on Earth. Last night, P.J. Harvey was ahead of me in the queue at the cinema, where I’d gone to watch One More Time with Feeling, Andrew Dominik’s film about Cave’s sixteenth album with the Bad Seeds, Skeleton Tree.