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This book does not mess about. It tells the story of the fighting on the Western Front between 1914 and 1918, just like it says on the tin. It offers a proudly traditional military history, from the opening skirmishes, through the titanic clashes of the Marne and Verdun, the Somme and Ypres, on to the often overlooked Allied sweep to victory of the Hundred Days. It describes what happened when, where and why. There is no discussion of why the war was fought in the first place or of what the men thought they were fighting for. The war here, as it was for that generation, is simply an inescapable fact. We learn enough about the political context and manoeuvring in London, Paris and Berlin to explain events on the battlefield, but no more.

At a certain point, the critic Robert Hughes once noted, at the heart of American cities churches began to be replaced by museums. Much the same occurred elsewhere in the world in the later 20th and early 21st centuries. Museums have sprouted from the earth in many diverse forms and numerous places. Enormous sums have been lavished on them. Vast processions of visitors file through their doors like medieval pilgrims — or at least they did before the pandemic struck. Once, there was widespread agreement as to what should go inside these temples of the arts: old master paintings, ancient carvings, the best and noblest artefacts humanity has produced. This consensus, however, has evaporated.

Helgoland is a craggy German island in the North Sea. Barely bigger than a few fields, it reaches high above the water on precipitous cliffs and is famous for its sweet air. It has a town and a harbour, and the 1,000-odd inhabitants speak a distinct dialect. In the summer of 1925, the 23-year-old physicist Werner Heisenberg went there to sort out his hay fever and solve the problem of reality. Helgoland is a slightly misleading title for Carlo Rovelli’s inspiring, chaotic, delightfully unsatisfactory book of popular quantum physics. It isn’t about Heisenberg’s months there or his mathematical insights; ‘Helgoland’ is Rovelli’s shorthand for Heisenberg’s pellucid state of mind.

This is a novel about ‘mommy issues’. Rachel is a Reform Jew, ‘more Chanel bag Jew than Torah Jew’, and her mother has always been preoccupied by her daughter’s weight. ‘Anorexics are much skinnier than you’, she tells Rachel when she develops the condition as a teenager. ‘They look like concentration camp victims.’ Rachel’s therapist, Dr Mahjoub (who, we are told, fills her consultation room with elephants in trinket form) recommends a total break in contact between mother and daughter for 40 days. Before this begins, Mahjoub makes Rachel perform an art therapy exercise: to create a sculpture of how she sees herself out of modelling clay. ‘I made massive thighs, weighty calves, a voluminous ass.

I’ve tried hard to think of someone I dislike enough to recommend this novel* to, but have failed. Elfriede Jelinek is Austria’s leading contemporary literary figure, and to open rein GOLD at random is to get the impression that she is the successor to Thomas Bernhard — page after page without a single paragraph indentation, a general ranting tone, maddening repetitiveness, and cult status. Just in case Jelinek’s is an unfamiliar name: she is an extremely neurotic person, a sufferer from many phobias — unable to travel to collect her Nobel Prize; a copious writer, many of her books having been translated into English among other languages; and, most significantly, one of those authors whose favourite idiom is humourless parody.