Lead book review

David Crane If nothing else, this has been a good time for catch-up. Theodor Fontane’s Effi Briest (translated by Walter Wallich, Persephone Books, £13) was a treat. But the real discovery of the year was an author I had never heard of, Wallace Breem. He seems to have spent his life as a librarian in the Inner Temple but found time to write three historical novels, one of which, The Leopard and the Cliff (Faber Finds, £13), set during the Third Afghan War of 1919, is up there with the very best novels of military life: vivid, tense and deeply moving, with a central character who has a touch of Guy Crouchback about him.

Clare Mulley In the past I have sometimes wondered how many books I would read if only someone had the kindness to lock me up. It turns out, this Covid year, not to be so many — but the quality has been high. Amelia Gentleman’s brilliant and devastating The Windrush Betrayal: Exposing the Hostile Environment (Guardian Faber, £10.99) fuelled me with an outrage in no way diminished by David Olusoga’s masterful and hugely compelling Black and British: A Forgotten History(Pan, £12.99). I know I was late to the party for that book but, as statues tumbled, I enjoyed Keith Lowe’s very timely and thought-provoking Prisoners of History: What Monuments Tell Us About History and Ourselves (William Collins, £20).

Sin-eating is an old European practice. After a person’s death, during the period of lying-in, a biscuit would be placed on the corpse in its coffin. Before the burial, one of the mourners would eat it in order to take on the sins of the departed and allow them to move on into the next life free of the burdens of their transgressions. Such fascinating info is the stuff of Lizzie Collingham’s book The Biscuit. This review, sadly, won’t touch on a tenth of it. Collingham has bagged a senior place among writers telling history through a single item of food. The book ranks up there with Salt and Cod by Mark Kurlansky. Her previous such book was Curry: A Tale of Cooks and Conquerors, which I thought would be hard to match, but Collingham has pulled it off again.

Tom Bower explains in his acknowledgements that this is not an authorised biography and he did not seek Boris Johnson’s co-operation. Instead, he followed his usual biographical method of interviewing well over 100 people who knew Boris, some named, some not. Obvious sources are his mother Charlotte, his sister Rachel, his first wife Allegra, his long-serving mistress Petronella Wyatt, but not his second wife Marina, nor his current fiancée Carrie Symonds. He also explains, rather coyly: Readers should be aware that Boris Johnson is not a stranger in my home. Veronica Wadley, my wife, has known him as a journalist since he joined the Daily Telegraph in l988... Their long relationship is one of colleagues rather than friends.

Is it ever possible to truly see inside the heart of another? To divine hidden intentions and the darkest of thoughts? For a long time — before we all became sourly aware of our own computers spying on us like HAL 9000, and flashing ads for haemorrhoid ointments — this godlike omniscience was ascribed to the secret listeners at GCHQ. Above all other intelligence agencies it held a special place in the imaginations of urban paranoiacs. The organisation itself nurtured this sinister reputation by its insistence upon remaining deep in the shadows, even as its siblings MI5 and MI6 boldly came out. Not all that many years ago, simply publishing the initials GCHQ could invite grief.

Somewhere or other Martin Amis remarks that the reason we have very little idea of what it feels like to go into space is that no astronaut so far can write. If we know very well what it felt like to go through a tropical typhoon, that’s because there was a Joseph Conrad able to tell us about it. Something similar might be said about the experience of real stardom. Although many great actors have published autobiographies, with or without the help of ghost writers, there are vanishingly few that combine honesty with an ability to write.

Gilbert in Oscar Wilde’s dialogue ‘The Critic as Artist’: ‘Every great man nowadays has his disciples, and it is always Judas who writes the biography.’ Not here. Hermione Lee’s immensely long Tom Stoppard: A Life is expert, engrossing, entertaining and sympathetic to its subject. At its heart is a writer steely in his determination to entertain, an inexhaustible mine of mots, a non-stop genius of jokes, capable of winning the Nobel Prize for the interview as an art form. It comprehensively replaces Ira Nadel’s Double Act (2002), a biography which Stoppard hoped would be ‘as inaccurate as possible’. (Indian Ink and Arcadia are both explicitly hostile to biography and its hubris.

When we refer to someone as ‘Byzantine’ we usually mean guileful or too complicated and labyrinthine in manner or speech. Perhaps the term is ill-applied: Byzantium, the medieval Greek city on the Bosporus which the Roman Emperor Constantine I renamed Constantinople, was not in essence an unfathomable, over-hierarchical or manipulative sort of place. It flourished for more than 1,000 years, until the Ottoman Turkish onslaught in the 15th century, by dint of its ‘extraordinary resilience and self-confidence’, says Judith Herrin, a leading Byzantinist. The northern Italian city of Ravenna, with its wondrous mosaicked churches and gilded mausolea that miraculously survived the aerial bombardments of the second world war, was manifestly also a Byzantine city.

In the early 1920s a French businessman, Leon Bel, was looking for a name for his new brand of processed cheese. He remembered seeing a meat wagon on the first world war battlefields with the sardonic name ‘La Wachkyrie’. Like the Valkyries in Wagner, it brought solace to fallen soldiers in the field. Bel thought it would do very well, and gave his cheese the same name in a more orthodox spelling. La Vache Qui Rit (the Laughing Cow) is still very popular today. Reading this completely unsuspected story of a trademark in Alex Ross’s book, I wondered with some astonishment at this world. A businessman looking for a striking name for a mass-market product hits on a joke about the title of a five-hour German music drama written 70 years earlier — and it succeeds.

Joseph Conrad’s death made Graham Greene feel, at 19, sitting on a beach in Yorkshire, ‘as if there was a kind of “blank” in the whole of contemporary literature’. Greene’s own death in 1991, aged 87, had a similar effect on many younger writers, myself included. For John le Carré, his most obvious successor, Greene had ‘carried the torch of English literature, almost alone’. His cool fugitive presence, in Martin Amis’s phrase, had been there all our reading lives. In an age of diminishing faith, he had used Catholic parables in a way that lent them a power beyond their biblical origins, mining the gospels rather as le Carré has mined the Cold War.

In 1791, Isaac D’Israeli — father of prime minister Benjamin — published his most famous work, the Curiosities of Literature, a collection of freewheeling mini-essays on whatever literary topics happened to tickle their author’s fancy: ‘Titles of Books’, ‘Noblemen Turned Critics’, ‘On the Custom of Saluting after Sneezing’, ‘Cicero’s Puns’. One of its joys is its capaciousness — completely unsystematic, yet seeming somehow to touch a little on everything. The book is long, but the essays are rarely more than a couple of pages, sometimes less.

In Haiti you have to be careful which founding father you admire. The average Haitian will think first of Toussaint Louverture when talking about their island’s revolt against France in the late 18th century, and about the original idea of a full-fledged Black republic: Toussaint the stable, the intense, the military genius, courageous, careful. But for others, the real hero of the revolution is Jean-Jacques Dessalines, or Papa Dessalines, who is said to have connived with the French to remove Toussaint from power. Once France had exiled Toussaint, Dessalines turned on the French, rejecting their ‘peace’ and authority. He prosecuted the revolution to its bloody end, but without the restraint that Toussaint had often demanded from his fighters.

The English cannot be understood without some appreciation of their attachment to their games, and yet this is an area of their story often overlooked by historians. Or perhaps it is simply considered beneath their interest. This is the central message of Robert Colls’s superb account of England viewed through the medium of its sports and pastimes.

To look upon a freshly painted wall is to behold a smooth surface; to look at it through a magnifier is to see a rough and irregular landscape — but turn the magnification up sufficiently and see it become regular again, a geometric matrix of atoms held in molecular bonds. Keep magnifying and you enter the unimaginably messy realm of the subatomic, a weird place of eldritch geometries and smeared-out, probabilistic motion. The world is smooth and rough, orderly and messy, all at once, depending on how closely you look.

In the face of authoritarian rule, what is a citizen to do? Some will join the oppressors, while others, such as the diarist of the Nazi era Victor Klemperer, will keep their heads down, hoping the horrors will pass (they usually do not). Some, generally a tiny minority, choose the path of civil courage and resistance, of activity that aims to sabotage the regime. Such acts may take many forms, one being to work secretly from within the new establishment of which you are a part. That was the one taken by Libertas Haas-Heye and Harro Schulze-Boysen, two Berlin intellectuals who fell in love and worked to undermine the Nazi war effort. The story told by Norman Ohler, which is not newly discovered but not well known, is deeply engaging, enticingly written and extremely affecting.

The cosiest way to read The End of Everything, Katie Mack’s fast-paced book about universal death, is as a murder mystery. Everything in spacetime, including the reader’s understanding of much of the story, is in the shadows. Black holes, quarks and gluons, Cepheid variables, the Concordance Model? Mere words, strewn across the floor. Believability, restraint and common sense? Left at the door. In the middle of the carpet is our butchered universe. How did it die? Squashed (‘The Big Crunch’)? Boiled (‘Heat Death’)? Eviscerated (‘The Big Rip’)? Burst apart from every pore (‘Vacuum Decay’)? To one side, almost dancing with excitement, is Inspector Mack, a theoretical astro-physicist at Carolina State University.

Such a sublime, terrible beauty, the shark. Glidingly filled with our awe, as if those glassy eyes marked us out as a bite-sized snack from the start. Evolutionarily pre-lapsarian — they’ve been around for 450 million years — sharks are wreathed in a symbolic cruelty, theirs and ours. In one of the most vivid scenes in Moby-Dick, the whalers slice into sharks attempting to prey upon their prized whale catch; yet even as the fishes’ entrails spill out, the dying animals are so ferocious that they eat their own innards. It’s a terrifying, almost Jungian image of consumption that seems to echo the reality of their fate. William McKeever’s book seeks to dispel these fearful dreams.

Smell is the oldest sense. We owe our existence to it. The moment you start to talk about smell, things explode in a shimmering, chaotic starburst of epistemological and ontological complication. It is involuntary; we have no noselids. Smell stays switched on in our sleep: to inspire is to smell. It has a bigger ratio of genes than any system in any species. Yet it remains almost unspoken of. The existence of smell — either as verb or noun — seems a guilty secret. Mr Justice Caulfield, in Jeffrey Archer’s 1987 libel action against the Star, would have caused no comment had he suggested that Mary Archer had ‘elegance’. But his gallantry led him over the brink. ‘Has she fragrance?’, he asked. The rest of his words were unheeded.

A month ago the Lancet and the New England Journal of Medicine each retracted a major study on Covid-19 drug therapies. One article had been up for more than a month, the other for less than two weeks. Both were based on faked data. That the rush to publish on Covid-19 led established researchers, reviewers and journals to skip elementary checks is deplorable, if not entirely surprising. But is there a more deep-seated crisis in scientific research? Stuart Ritchie claims an epidemic of ‘fraud, bias, negligence, and hype’. Alas, he overhypes his own argument. In 2011 this book would have been a wonderful path-breaker.

On a family holiday almost 40 years ago I visited Winsford, the village on the edge of Exmoor where Ernest Bevin was born (and Boris Johnson was raised). Having read the first book in Alan Bullock’s scholarly three-volume biography, I’d become a convinced Bevinite (not to be confused with the followers of Nye Bevan, his near namesake and bête noire). As it was the centenary of Bevin’s birth I expected to find some kind of commemoration, but there was nothing apart from a faded plaque on the cottage he was born in. I asked the woman serving in the Post Office opposite if I’d missed anything, but she’d never heard of the great man.