Lead book review

Approximately 500 new books on Venice are published every year and this is not the first literary anthology devoted to the city. But Marie-Jose Gransard lectures in Venice about Venice to Venetians, and conducts her students on guided tours of the city. Her selection draws on sources going back over 800 years and across six languages. So the text, based on very wide reading, is crowded with unfamiliar observations and includes the impressions of artists, musicians and diplomats as well as writers. This is not a guide book for the first-time visitor, but for anyone who knows Venice, and cannot keep away, it provides a delightful change. We are given Ruskin, Byron, Goethe, Henry James, Thomas Mann and Hemingway.

In a recent interview, the African American actor Wendell Pierce revealed he had once been told by the head of casting at a Hollywood studio: ‘I couldn’t put you in a Shakespeare movie, because they didn’t have black people then.’ The story was repeated on social media with a mixture of horror and hilarity, many responding — as Pierce himself did — ‘You ever heard of Othello?’ Yet the head of casting’s comments represent a common misconception and a significant gap in historical memory. Black Africans have been a visible presence in European life for centuries — and not only as slaves. In the 16th century, there were black musicians, such as Henry VIII’s trumpeter, John Blanke.

The unfinished is, of course, something which tells us about the history of a work of art’s creation. A work of art may have been interrupted by the artist’s death, as with the paintings that Klimt left behind in his studio. Or it may simply have been abandoned when a patron failed to fulfil his obligations, or the painter had grown bored with the subject and moved on to something else. These spaces and gaps give us a glimpse of an artist at work and invite us to speculate about what Mondrian, for instance, was doing abandoning the 1934 ‘Composition with Double Lines’ or Cézanne the 1898 ‘Bouquet of Peonies’. Did something better come along? Did the painting present too many problems?

[audioplayer src="http://feeds.soundcloud.com/stream/260046943-the-spectator-podcast-obamas-eu-intervention-the-pms.mp3" title="Lloyd Evans and Dr Daniel Swift discuss how Shakespeare died" startat=1008] Listen [/audioplayer]Who’s there? Shakespeare’s most famous play opens with this slightly hokey line, and the question remains for his countless audiences, biographers and scholars. Who was this man? What makes his works so apparently endless? Like the plays, his life is studded with riddles. Even the basic facts are slippery and over-determined. We do not, for example, know the date of Shakespeare’s birth. His baptism was recorded at Stratford on 26 April 1564, and since it was customary to baptise newborns quickly, it has been accepted that his birthday was 23 April.

Is there anything new to be said about T.E. Lawrence? I mean, really. In the century since his stirring exploits in the Arabian desert we have had all manner of biographies, from simpering hagiography to heartless hatchet job. We have had Lawrence the colonial hero and faithful imperial servant; Lawrence the linguist, explorer and spy, pioneer of guerrilla warfare; Lawrence the Machiavellian betrayer of the Arabs; Lawrence the preening, self-mythologising sado-masochist. Each generation projects its own prejudices and visions, fears and fantasies upon this unusual man. Even now, 80 years after his death, the torrent of biographies shows little sign of abating.

This biography of the craven Romantic and self-confessed ‘Pope of Opium’ concludes with the ominous words: ‘We are all De Quinceyan now.’ His life was shambolic but his legacy is strong. Many spores from his fevered mind have lodged in modern popular culture: his narcotic excursions inspired Baudelaire and Burroughs, his sensitivity to place influenced the psychogeographers Guy Debord and Iain Sinclair, his laconic, jaunty essay ‘On Murder Considered as One of the Fine Arts’ was deemed ‘delightful’ by Alfred Hitchcock, and his Escher-like imaginative double consciousness prompted Jorge Luis Borges to ask: ‘I wonder if I would have existed without De Quincey?’ And yet behold the man himself.

Robert Mapplethorpe made his reputation as a photographer in the period between the 1969 gay-bashing raid at the Stonewall Inn on Christopher Street and the identification of HIV in 1983. This was the High Renaissance, the Age of Discovery, the Bourbon Louis Romp, the Victorian imperial pomp, the Jazz Age, the Camelot moonshot, the Swinging Sixties of gay culture in New York. In the 18th century New York punished sodomy with death. This was later reduced to 14 years’ solitary or hard labour. By 1950, it was only a misdemeanour. By the Seventies, it was becoming positively fashion-able, like a ten-speed bike or a breadmaking machine.

The other day, some anti-imperialist students were questioning the presence in their institutions of statues of Cecil Rhodes, a West African cockerel and, very strangely in view of her conspicuously anti-racist convictions, Queen Victoria. In response, a Guardian columnist, who has probably made less effort to learn Hindi than Queen Victoria did, amusingly said that it was time to ‘start a debate’ about the British empire. I would have thought that we have spent much of the last century energetically examining the subject from topknot to shoesole. Nevertheless, there remain some large areas which haven’t been properly considered, and among them is the complex story of India’s role in the second world war.

When Virgil died at Brindisium in 19 bc, on his way back to Rome from Greece, he left the Aeneid unfinished. When Seamus Heaney died in Dublin in 2013, his translation of Book VI was also unfinished, but like the whole of the original, his 1,222 lines were found to be in a publishable condition (‘final’, he wrote on the last draft, which allows for it not being ‘complete’). The coincidence is touching. So too is the fact that this book is concerned with news from the afterlife. Aeneas descends into the underworld to visit his father, Anchises, and receives there a history lesson that leads beyond the founding of Rome to the glories and struggles that lie in the future. Heaney’s version is also a kind of gift from beyond the grave.

It is very difficult to uncover accurate connections between ideas and events in history. A.C. Grayling is a philosopher and polemicist with a particular story to tell about the rise of freedom in the 17th century. In the introduction to his new book he writes: I hope the sketches offered here will illustrate the claim that the 17th century is truly the moment that history changed course so profoundly that everything before it is another world, and that it and the times since are our world. He replaces the conventional division of history into everything that happened before the birth of Christ and everything that has happened afterwards, with a new bifurcation: everything that happened when humans thought the world was the centre of the universe, and everything that has happened since.

When the German doctor and botanist Leonhard Rauwolff visited the Syrian city of Aleppo during an eccentrically Teutonic herb-hunting mission across the Middle East, he was instantly impressed by the thriving trade he encountered. It was ‘admirably great’, he wrote, ‘for great caravans of pack-horses and asses, but more camels arrive there daily from all foreign countries’. The year was 1573 but the description might have been written at any point during the past several thousand years. For Aleppo, trade and cosmopolitanism were always two sides of the same coin. They were seared into the city’s character long before the Muslim conquest of 637.

I’m certainly the wrong person to be reviewing this book, never having succeeded in understanding anything that a philosopher said about anything — but particularly the collected utterances of the existentialist school. Nevertheless, I think it fair to say that between the ages of 15 and 18, I had the wardrobe down to a T. In Yorkshire in the early 1980s, if you wanted to be existentialist, you wore duffle coats and drainpipe jeans and, of course, the famous black polo-neck. I knew kids who smoked Gauloises and one who actually went in for smoking a pipe. Your spectacles were those NHS free type popularised by John Lennon; your shoes might be Hush Puppies. (A little later they were black Doc Martens with thick rubber soles.

Landskipping is about viewing the view, from the 18th century to the present. From the title (which is the only self-conscious thing about this terrific book) I feared we might be in for a heavy dose of Wordworthishness and ‘the lone enraptured male’ school of writing. But Anna Pavord, along with Kathleen Jamie, Dorothy Wordsworth and Jane Austen, is more down-to-earth than any Romantic moper. Like the author of Sense and Sensibility, she sees both sides of the coin. Romantic mopers, however, do crowd the early pages. Once a ‘correct’ taste for landscape became a desirable attainment in the mid-18th century, the way you looked at wild places was a way of demonstrating sensibility rather than sense.

How could you possibly justify a whole book about buttons? How could the mention of a humble wooden toggle, a diamond clasp, a ‘blue side buckle’ inspire such an unusual and irresistibly delightful account of more than a century’s worth of women’s lives? You might wonder. But as Lynn Knight sorts her way through her Victorian grandmother Annie’s old treasures, a rich hoard of buttons of infinite shapes, sizes and textures, all packed into an old sweet tin, the smell of the lemon-scented geranium in Annie’s house comes hurtling through the door of her mind and returns her with a technicolour clatter to childhood. This is a book to make you smile, a story luminous with nostalgia.

This is a very odd book that Jean Stein has compiled — about the evanescent splendour of Los Angeles, which only occasionally touches on the film industry. Its setting’s most memorable landmark appears to be the name of one of its districts, written in enormous white letters on a hillside. That, and various opulent houses, preserved in one movie after another and generally concealed from public view. Stein’s subject is the failure to leave any kind of a mark — despite huge spectacle and expenditure; and witnesses are reduced to repeating over and over again,‘Well, you should have been there at the time.’ She tells five stories. The first concerns the Doheny family, whose wealth derived from Los Angeles’ main commodity before films: oil.

‘It was hard to be a tsar,’ Simon Sebag Montefiore writes in his opening sentence, and what follows fully bears this out. In his thought-provoking introduction, he stresses the unique nature of Russian autocracy and its perverse contradictions; the tsar was absolute ruler, yet he was bound by a tangle of restrictions. His subjects were prepared to accept his tyranny and any cruelty its exercise required, but claimed the right to punish him if he failed to provide strong leadership. The system was never meant to give one person tyrannical powers over everyone else. Nor was it intended to work for the greatest good of the greatest number.

Last month in the Financial Times, Tony Barber closed a gloomy summary of the European Union’s future with this comparison: Like the Holy Roman Empire which lasted for 1,000 years before Napoleon put it out of its misery in 1806, the EU may not disintegrate but slip into a glacial decline, its political and bureaucratic elites continuing faithfully to observe the rites of a confederacy bereft of power and relevance. This vivid comparison has much to commend it. Both institutions defy definition. As Voltaire sneered in 1756, ‘it’s not holy, not Roman and not an empire’.

Mei Fong tells the routine story of a girl who managed to conceal an illegal pregnancy until the baby was almost due, when family planning officials surrounded her hiding place at night. ‘She ran and ran and ran until she came to a pond. Then she ran in, until the water was at her neck. She stood there and began to cry.’ Through her tears she explained that she needed the baby to stop her husband and his parents abusing her for not producing a son. This was the mid 1990s, but the same thing could have happened in rural China at any point in the past 1,000 years, except for the dénouement. Officials dragged the girl from the water, and hauled her off to hospital where the baby was killed.

At the beginning of the historical record, the lands that we now call Ukraine were a reservoir of fantasy. Achilles probably did not sail from a Greek port on the north of the Black Sea up the rapids of the Dnipro River to find his final resting place, as some Greeks once believed. Nor is it likely that Ukraine, or the Pontic steppe as the Greeks had it, was the homeland of the Amazons. That said, it was Herodotus who supplied the south-to-north physical geography that Serhii Plokhy wisely follows: the ports of Crimea and the coast, the rich steppe heartland, and the forests. For Plokhy, the formation of Ukraine is the establishment of a unity among these three zones, and his themes are ‘geography, ecology and culture’.

The New Yorker, not far off its centenary now, has moved beyond rivalry to a position of supremacy among American magazines. It has attained this not by taking a particular political position, although it certainly has one — it represents, obviously, a metro-politan, liberal, outward-facing attitude to the world. Rather, its pre-eminence is down to its valuing, above all, the quality of writing. Of course, aspects of the New Yorker have always irritated people. It possesses a somewhat supercilious quality — the one-page comic sketch, ‘Shouts and Murmurs’, invariably leaves me straight-faced, and sometimes even a bit depressed. I can never decide whether the restaurant reviews are meant to be a joke, so absurd do they make their subjects sound.