Books

In the 13th century, having overrun and terrorised Europe as far as Budapest, and in the process possibly bringing with them the flea which caused the Black Death, the heirs to Genghis Khan and the Golden Horde had also conquered territory to the east as far as the Korean peninsular. The assiduous Swiss scholar and explorer Christoph Baumer chronicles the ensuing sagas of the remaining individual khanates in great detail. But by the 16th century it is clear that although a few pockets still flourished, producing impressive buildings and works of art, these erstwhile mighty nomadic clans had sunk to a point where they had disappeared from the consciousness of the outside world.

I’d been suffering under the misguided illusion that the purpose of mainstream publishers like Penguin Random House was to sell and promote fine writing. A colleague’s forwarded email has set me straight. Sent to a literary agent, presumably this letter was also fired off to the agents of the entire Penguin Random House stable. The email cites the publisher’s ‘new company-wide goal’: for ‘both our new hires and the authors we acquire to reflect UK society by 2025.’ (Gotta love that shouty boldface.) ‘This means we want our authors and new colleagues to reflect the UK population taking into account ethnicity, gender, sexuality, social mobility and disability.

Over the past decade Lauren Groff has written three novels; she now returns to the short story form in this, her second collection. Last year she was named as one of the best young American novelists by Granta, a reputation that’s been growing since the 2015 publication of her critically acclaimed Fates and Furies, a sprawling portrait of a marriage nominated by Barack Obama as his book of the year. Groff, originally from New York, lives in Florida, and these 11 stories take that state as their focus — a place where panthers prowl perimeters, 15ft-alligators glide through the swamps and air-conditioners ‘crouch like trolls under the windows’.

In 1973, four years before he disappeared down the Star Wars rabbit hole, George Lucas directed the film American Graffiti, eulogising his days as a teenage car fanatic in Modesto, California; parking at drive-ins, hot-rodding and cruising for dates. This vanished world was only a decade away —‘Where were you in 62?’ said the publicity — the equivalent of someone today getting dewy-eyed about 2007. Yet the clashes and strife of the late 1960s in mainland America and the deepening quagmire of the Vietnam War had already made those days look like an age of lost innocence. The film was an international hit, but in October that year Opec’s oil embargo quadrupled the price per barrel, putting any number of nails in the coffin of cheap motoring and jacked-up jalopies. Gary S.

In 1983, Soviet spies skulked in our midnight streets to check the lights were out.The Kremlin, convinced the West was planning nuclear war, launched Project RYAN, whereby agents watched for signs of impending attack. One was that lights would burn all night in government buildings, as fiendish mandarins drew up the war plans. It didn’t occur to them that lights might indicate nothing more than cleaners on a late shift. Soviet paranoia was such that they saw menace everywhere, and agents, eager to please Moscow, reinforced this fear. ‘The more alarming the reports, the more the agents were congratulated for their diligence.’ RYAN became self-fulfilling.

A few years ago I asked Martin Amis about Philip Roth. “All his dildos,” he replied, “he’s not letting it go.” At the time the comment struck me as harsh, but this morning when I saw the sad news of Roth’s death I remembered it with a little amusement. I understood what Amis was getting at: Roth often did seem sex mad. But it was very much part of what made him glorious. Philip Roth wrote standing up and you could kind of tell by reading him. To me, starting a Roth novel always felt a bit like embarking on a run with a supremely fit and virile man, a man who could run at any speed, fast or slow, all day and all night. Forever.

Those with long enough memories may remember Desmond Morris as the presenter of the hit ITV children’s programme of Zoo Time in the late 1950s and early 1960s. Or perhaps as the author of the 1968 bestseller The Naked Ape, in which he argued that, beneath our sophisticated veneer, humans are nothing more than primates. Now aged 90, he has written an uproariously funny book on the ostensibly unlikely subject of the Surrealists. I say ‘ostensibly’ because, before becoming a successful zoologist, Morris was actually a painter and even had a joint exhibition in London with Joan Miró. In The Lives of the Surrealists he takes on the role of a latter-day Vasari, penning mini-biographies of 32 artists who were associated with Surrealism.

To some, Tom Wolfe’s death might seem a greater loss for readers on the right wing of American culture and politics, since he viewed himself as a conservative, very much in keeping with his upbringing in the Richmond, Virginia, of the 1930s and 1940s. His gentleman’s manners and soft-spoken demeanour recalled another era — a class-defined and racially segregated world of courtliness and formal collars. Wolfe famously picked on liberal targets throughout his remarkable career: his most savage satires addressed the pretensions of leftish icons from Leonard Bernstein to, most recently, Noam Chomsky.