Books

Tom Crewe’s highly accomplished debut novel, The New Life, concerns the suppression of sexual feelings, and how utopian visions can falter when they come up against cold hard reality. It begins with John Addington (closely, though not entirely, based on the nineteenth-century man of letters John Addington Symonds), fantasizing about a homosexual encounter in a London underground train. The carriage is crammed: a man is pressing his buttocks into John’s crotch; John’s excitement cannot be concealed; soon they are in the throes of passion, despite the crowds around them. It’s a claustrophobic, tense, almost nightmarish scene, executed with minute attention to detail.

It is a trope of dystopian literature that once-beloved works are censored beyond recognition by blank-faced apparatchiks, removing apparently subversive or dangerous content at the behest of the state. As ever in our brave new world, reality has come to imitate fantasy, with Roald Dahl the latest author to face that most implacable of nemeses: changing social attitudes. It has been revealed by the Daily Telegraph that Dahl’s books — published in the United States by Penguin Young Readers Group, and Puffin in the United Kingdom — have been quietly but systematically edited to make them more "acceptable" for a 2023 readership. These changes, of which there are hundreds across Dahl’s canon, fundamentally alter some of the most beloved children’s titles ever written.

When J. Edgar Hoover died in May 1972 at seventy-seven, he had been director of the Federal Bureau of Investigation for forty-eight years, ever since progressive attorney general Harlan Fiske Stone had promoted the then-obscure twenty-nine-year-old Justice Department bureaucrat in 1924. With fewer than 400 agents, limited responsibilities, and a reputation badly tarnished under a corrupt previous attorney general, what was then called the Bureau of Investigation offered modest prospects. Still, the new boss set out to clean house, institute stringent hiring standards and impose a culture of science-based crime-fighting on his federal agents. One new hire in 1928 was Clyde A.

Stephen Rubin may not be a household name, but one gets the impression that doesn’t bother him much. Since he began his career in the '80s, he has built his reputation on publishing zeitgeist-baiting fiction and non-fiction alike, ranging from the undeniably good (John Grisham’s The Firm) to the undeniably bad but hugely lucrative (The Da Vinci Code), along with George W. Bush’s memoir Decision Points. You may not like all, or even most, of the thousands of books that Rubin has been involved with, but you cannot deny his commercial acumen. He knows what people want to buy, and has been as responsible as anyone in the United States for bringing it to them.

A lot of new books grow old fast. It isn’t even the fault of their material, necessarily, but their milieu. Hour by hour, the means of cultural production are accelerating at an evaporative rate. Today more than ever before, irrelevancy looms large over the shoulder of the novelist. It’s an environment within which thirty days of relevance is a feat, but thirty years? A fiction in and of itself. Yet, throughout three decades of cultural churn, the words of Irvine Welsh have remained steadfast; as culturally relevant and artistically avant-garde as the day they first hit the shelves.

“I don’t know how many times in nearly forty years I have come back to this novel,” Graham Greene said of Ford Madox Ford’s The Good Soldier, published shortly after the outbreak of the First World War. The fiction of both English authors — both converts to Catholicism — share a deep cynicism towards modernity and a depiction of the English establishment as decadent and in decline. The Good Soldier, whose original title The Saddest Story was canned by the publisher because it would render the book “unsaleable” during World War I, tells the tale of two married couples, one British (British Army Captain Edward Ashburnham and his wife Leonora) and the other American (John and Florence Dowell). Both pairs are, on the face of it, young, prosperous, and happy.

The Shards is about 600 pages long. “Should anyone even publish a 600-page novel?” asks its author Bret Easton Ellis. “I happen to believe, yes, if it’s justified.” Such books are rarely justifiable, and often, novelists become buzzed-about simply for executing them, but not many can boast that every word, scene and sentence is necessary. This is how it feels to read The Shards: not a detail is to be missed. It contains the thematic elements that run through Ellis’ oeuvre: the social lives of the wealthy, or nearly wealthy, drugs, sexuality and desperation painted over with bursts of violence. The through line that connects his work isn’t that sex and violence are taboo.

After a fair-to-middling 2022, it’s not unreasonable to hope that 2023 will see several stars burn brightly in the literary firmament. Whether what promises to be the most talked-about book of the year, Prince Harry’s Spare (Random House, January), is included in this number remains to be seen. On the plus side, the prince has the estimable J.R. Moehringer as his ghostwriter; on the negative side is the fact that his every public appearance over the past few years has been so combative that we might expect little more than a 416-page exercise in score-settling. More reliable pleasures await. Pamela Anderson’s memoir Love, Pamela (HarperCollins, January) should be a revelatory and fascinating dive beyond the usual bimbo clichés.

One of the great, pesky questions of human history has finally been answered. For thousands of years , as we all know, most great accomplishments were the works of men. But now and then there was an outlier, a woman doing great things. Esther in the Bible, Joan of Arc or Elizabeth I of England. It made no sense — but today, thanks to the tireless work of gender studies departments we know the truth: those weren’t women at all. They were actually men. This weekend we had further confirmation of this revelation from the New York Times which ran a piece revealing that Louisa May Alcott, author of Little Women, was a trans man. We know this because sometimes Alcott went by “Lou” and mentioned having a “boys' spirit.” I’m sold.

If you sit down and talk to an author for any length of time, you will hear gripes. (Writers will never be confused with the sunniest of people on this planet.) About the visibility of their books; about the size of their advances; about their sales, relative to their other titles and to their peers; about publicity campaigns; about cover designs. There will be a lot of gripes, and if you are cornered by an author in a bar, or at a party, you might be advised to make your excuses and flee. But if you have some sympathy for this much-maligned breed, it may occur to you that the basis of their complaints ultimately comes down to a simple lack of appreciation by their publishers: those all-powerful entities that have the power to make or break careers at the touch of a button.