Lead book review

Philip Glass is by now surely up there in the Telemann class among the most prolific composers in history. There must be an explanation, preferably a non-defamatory one, for how his technique has enabled him to produce such an enormous quantity of music. A glance at my iPod shows that Varese’s collected works are over in 150 minutes: Berg, Ravel and Debussy each managed to produce between ten and 15 hours of music at most. Glass’s style, which has been called ‘minimalist’, though he doesn’t accept the label, works on a bigger scale. He has written 25 operas, some, like Einstein on the Beach, as long as Die Meistersinger. He owns up to 30 film scores, although the internet movie database connects him with more than a hundred different films.

In August 1915, in his tent at GHQ on the Aegean island of Imbros, General Sir Ian Hamilton, commander-in-chief of the Gallipoli expedition, woke from a dream in which someone was attempting to drown him in the Hellespont. ‘For hours afterwards,’ he wrote in his diary, ‘I was haunted by the thought that the Dardanelles were fatal: that something sinister was afoot: that we, all of us, were pre-doomed.’ This was not how it had seemed when what had been confidently designated ‘the Constantinople expedition’ set out for the distant and largely unknown Turkish peninsula.

‘A vision of innocence was not always the same as an innocent vision,’ remarks Robert Douglas-Fairhurst. He is referring to Alice’s discovery in Wonderland that ‘ “I say what I mean” is not the same as “I mean what I say”.’ Douglas-Fairhurst is a subtle expert in doubleness. His new book tells the story of Lewis Carroll, who was also an Oxford mathematician called Charles Dodgson, and Alice Liddell, whom Dodgson photographed naked when she was seven, who married and became Mrs Hargreaves though she liked to use the title Lady Hargreaves, to which she was not entitled.

In England, walking about at night was a crime for a very long time. William the Conqueror ordained that a bell should be rung at 8 p.m., at which point Londoners were supposed to put their fires and candles out and their heads down. Again and again, until modern times, Matthew Beaumont tells us, specifically nocturnal laws were promulgated against draw-latchets, roberdsmen, barraters, roysterers, roarers, harlots and other nefarious nightwalkers — including those ‘eavesdroppers’ who stood listening in the close darkness where the rain dripped from a house’s eaves. Beaumont reads such laws as being designed to exert political and social control.

‘Sometimes, strolling through the ruins of earlier civilisations, we idly wonder what it must have been like to live through the end of one of them,’ writes Ferdinand Mount at the end of The Tears of the Rajas. ‘Now we know for ourselves.’ This is a long, wonderfully discursive and reassuringly old-fashioned book which tells the story of the British in India through the lives of one British family — the author’s ancestors, the Lows of Clatto in Fife. The Lows also happen to be the ancestors of Mount’s cousin, David Cameron. The action opens in 1805, in the aftermath of the Second Maratha War, when the East India Company had established its dominant military position through most of the Indian interior.

One of the curiosities of western art is that, until the 20th century, few visual artists were of Jewish ancestry. With odd exceptions such as the Pissarros and Simeon Solomon, the culture tended to produce verbal rather than visual imaginations. With the 20th century that changed. The important group of abstract expressionists that came out of New York after the second world war centred on at least two Jewish artists — Barnett Newman and Mark Rothko. Both possessed a specifically Jewish imagination, and both narrowed down their pictorial language to forms that expressed mystical aspects of their ancestral culture and faith. In Newman’s case it was the ‘zip’, a thin vertical stripe in a colour field connecting Earth and Heaven.

Wolfsnow is a dangerous blizzard at sea; slogger the sucking sound made by waves against a ship’s sides; ammil the sparkle of morning sunlight through hoar-frost; af’rug the reflection of a wave after it has struck the shore; blinter is a cold dazzle; sutering the cranky action of a rising heron; èit, a Gaelic word, is a piece of quartz placed in a moorland stream so that it glimmers in the moonlight and in that way attracts salmon in late summer and autumn; summer geese is steam that rises from the moor when rain is followed by hot sunshine; fizmer the noise of wind rustling in long grass; may-blobs are kingcups; zwer is the whizzing of partridges as they break cover; feetings are footprints of creatures as they appear in the snow; twindle is stream foam; an after-drop.

For his holiday reading in the summer of 1835, the literary and political journalist John Wilson Croker packed the printed lists of those condemned to death during the Reign of Terror in revolutionary France. The several thousand guillotined in Paris after the establishment of the Revolutionary Tribunal (10 March 1793) and before the fall of Maximilien Robespierre (27 July 1794), were accused of crimes ranging from hoarding provisions or conspiring against the republic to sawing down a tree of liberty or declaring ‘A fig for the nation!’ In horrified disbelief Croker asked the question that has never gone away: how could this have happened? How could the progressive revolutionary optimism of 1789 have turned in just five years to summary arrests and executions?

In 1891, George Nathaniel Curzon, ‘the very superior person’ of the mocking Balliol rhyme, and future viceroy of India, arrived at Persepolis. Torched in 330 BC by Alexander the Great, it had once been the nerve-centre of an empire that stretched from the Aegean to the Hindu Kush. For Curzon, whose tour of Iran had already taken him all over the country, the ruins of the great palace were a particular highlight. The Persia of the Achaemenids, the ruling dynasty of the ancient empire, was, so he declared, ‘immeasurably superior to medieval Persia in its attributes and even now more respectable in its ruins’. Coming from a man who was himself no slouch at imperial pomp, this was high praise indeed.

It’s a curious subject, fashion, and those who write about it rarely want to jeopardise future access to it on the altar of clear-eyed analysis. The business must pretend that there is a single genius at work here, whose vision creates not just clothes but the things that actually make the money. The catwalk shows are all very well, but they haven’t been the main business for decades, and it came as rather a surprise to the industry when a great mob of new customers emerged from nowhere, the wives of Russian oligarchs and American hedgefund traders, willing to spend six-figure sums every season on a new wardrobe.

The musical Cats reopened in the West End in December, with a judge from The X Factor in the lead role. The music is by Andrew Lloyd Webber and the songs are, of course, by T.S. Eliot. Eliot died 50 years ago this year, and retains a curious kind of fame, which encompasses West End musicals and scholarly collections of his letters, lovingly published by Faber (most recently, Volume 5: 1930–1931. At 800 pages, this is for true Eliot-fanciers only). In 1948, a line from one of his poems was used in an ad for Esso petrol (‘Time future contained in time past’). In 1956, he gave a lecture on literary criticism in a baseball stadium in Minnesota, and 14,000 people turned up to listen. He was and remains a strange, paradoxical figure: a famous serious poet.

For those who imagine the medieval period along the lines of Monty Python and the Holy Grail — knights, castles, fair maidens, filthy peasants and buckets of blood and gore (you know, all the fun stuff) — Johannes Fried’s version may come as something of an aesthetic shock. His interests lie in the more rarefied world of theologians, lawyers and philosophers. So while the kings and emperors of the Middle Ages are afforded largely thumbnail sketches, it is the likes of Thomas Aquinas, Dante Alighieri, William of Ockham and Peter Abelard that attract Fried’s closest attention in his study of the ‘cultural evolution’ of the Middle Ages.

Proust had his cork-lined bedroom; Emily Dickinson her Amherst hidey-hole; Mark Twain a gazebo with magnificent views of New York City. Where, then, did the father of English poetry do his work? From 1374 till 1386, while employed supervising the collection of wool-duties, Chaucer was billeted in a grace-and-favour bachelor pad in the tower directly above Aldgate, the main eastern point of entry to the walled city of London. ‘Grace and favour’ makes it sound grander than it was.

I am not sure if it’s properly understood quite what a crisis the short story is now in. Superficial signs of success and publicity — such as Alice Munro winning the Nobel, or the establishment of another well-funded prize — are widely mistaken for a resurgence. But what has disappeared — and disappeared quite recently — is the wide spread of journals willing to pay for a single story. That is what sustained the genre in its glory days. Edwardian magazines such as the Strand happily paid their star writers the equivalent (or even more) of a doctor’s annual income for a single story. There were dozens of such publications between 1890 and the outbreak of the first world war.

It is a strange paradox of our egalitarian age that a progressive publisher like Penguin should commission — at considerable expense, since the series editor Simon Winder has netted some top academic authors — brief lives of all 44 English, and later British, monarchs, from Athelstan to his distant descendent, our own Queen Elizabeth. The 45th book in the series is devoted to our sole non-royal ruler, Oliver Cromwell. The biographies — each costing £10.99 — though not exactly ‘potted’, are necessarily squeezed by space — none is longer than 150 pages — into extended essays that can be comfortably devoured in a couple of hours; ideal for a railway journey or a short-haul flight in our cash-rich, time-poor era.

Linda Simon’s compact and colourful circus history is, in many ways, a jewel of a publication. It is hard to say anything new about the circus because almost impossible to uncover quotes and stories that cannot be found in other books. The circus itself — disregarding the circus of ancient Rome — is a modern form and so the stock of images available for this type of illustrated history is quite limited and well known. But here are some interesting photographs of ceramic Mexican acrobats, and an Egyptian fresco of a female contortionist which back up one of Simon’s themes: using the body as a spectacle is an ancient impulse, of which the circus as we know it is just one manifestation.

Mecca is the greatest paradox of the Islamic world. Home to the Kaaba, a pagan-era cube of black granite said to have been built by Abraham and his son Ishmael, it is the lodestar to which 1.6 billion Muslims direct their five daily prayers. Mecca is the single point on the planet around which Muslims revolve — quite literally for those able to perform the once gruelling, now simply expensive, pilgrimage or haj. Yet the prodigious, world-illuminating gifts of Islamic civilisation in the arts and sciences, from architecture to astronomy, physics to philosophy, came not from Mecca but from cities such as Damascus, Baghdad, Cairo and Istanbul.

George Bernard Shaw called him a ‘Yankee Shakespeare peopling his isle with Calibans’. He was dubbed ‘a fighting Tolstoy’ and ‘the great American blues man of the theatre’. Before he was 35, Eugene O’Neill had emerged as the first real titan of American theatre, a preeminence he has never lost. When Sinclair Lewis was awarded the Nobel Prize in 1930, he responded that they should have given it to O’Neill, because he had done ‘nothing much in American drama save to transform it utterly… from a false world of neat and competent trickery to a world of splendour and fear and greatness’. O’Neill’s struggle to wrench American theatre into splendour, fear and greatness is the subject of Robert M.

Jane Ridley 2014 has been the year of 1914. In the same way that Christmas puddings appear in supermarkets in October, many of the contestants in the publishing race for 2014 defied starter’s orders and came out pre-maturely in 2013. What has been striking about the bumper crop of first world war books is the terrifically high standard. One of last year’s books which I’ve only just got round to reading in paperback is David Reynolds’s Long Shadow (Simon & Schuster, £9.99). Because the Great War seemed so meaningless, killing so many British soldiers for reasons which remain remote and obscure even today, it has always been especially difficult for the British to make sense of it.

Mark Amory Being a slow reader, I first try the shortest, or anyway shorter, works of famous novelists unknown to me. This year, with many misgivings, I read The Confusions of Young Törless by Robert Musil (Penguin, £8.99) and was shocked and impressed by the intensity of the sex and violence he describes at a military boarding school in Austria. But do I really want to continue to the great works? Nagasaki, by the prize-winning French journalist Eric Faye (Gallic Books, £7.99), describes in 112 pages a middle-aged Japanese man who suspects that someone is secretly living in his house. It is as gripping as a thriller, but sad and serious. I shall try another short one. More confidently, I took Nora Webster (Viking, £18.