More from Books

‘James Scudamore is now a force in the English novel,’ says Hilary Mantel on the cover of English Monsters, which, given that it’s his fourth book, has the whiff of a backhanded compliment (‘Have you lost weight?’). But despite its less exotic setting than his earlier novels, there is a reach and scope here that makes me think Mantel might be right. This is an English public school story (come back!) that gives us four decades in the life of Max Denyer. Max’s jet-setting parents leave him in the care of the sort of sparky grandfather of whom Roald Dahl would approve (gadgets, projects, home-made cider vinegar: ‘Electric jolt. Scalp ripple.

On 8 November 1954, Dave Brubeck’s portrait appeared on the cover of Time magazine, accompanied by the words ‘The Joints are Really Flipping’. Inside, the pianist and leader of his own jazz quartet was variously described as ‘a wigging cat with a far-out wail’ and ‘way out on Cloud 7’, who when at college chatted up his future wife Iola with the immortal philosophical enquiry: ‘Tell me about this Plato cat.’ Yet Brubeck’s life and habits were far from the archetypal drug-fuelled, self-destructive behaviour the public had sometimes been led to expect from best-selling memoirs of that world, such as Mezz Mezzrow’s hugely entertaining sustained exercise in jive-speak, Really the Blues (1946).

Andrew Ziminski is the man who rebuilt the West Country. For 30 years, this skilled stonemason has renovated some of Britain’s greatest buildings. Along the way, he has acquired an unparalleled understanding of this country’s stones. He got hooked as a young man when a mason asked him if he noticed that tea tasted different in different parts of the country. That was because the land’s personality had an effect on its water; and so it is with stones. It’s oolitic limestone that gives Bath its golden tint. It’s granite that gives Aberdeen its mighty, hard-as-rock profile — fizzing, incidentally, with a batsqueak of radiation.

In 1983 I was sent to New York to interview Johnny Rotten and I took the opportunity to call on Andy Warhol. The Factory was in the phonebook; and the receptionist, Brigid Berlin, said that Andy was in Milan but would be back the following afternoon. ‘You better give him half an hour. Why don’t you come over at 2.30 p.m.?’ So I did. I’d never been part of that New York scene, but wanted to meet someone who had helped me develop my own freedoms almost 20 years earlier. According to Blake Gopnik’s book, I should have found a studio that was triple-locked, with an anxious artist hiding inside. But it wasn’t remotely like that.

This book is a rather startling depiction of Hugh Trevor-Roper’s involvement with the Society for Anglo-Chinese Understanding (SACU), his sponsored visit to China in October 1965 (just months before the Cultural Revolution got under way) and his efforts to find out who actually controlled and funded SACU. Having been induced to be a sponsor of the society on legitimate grounds of interest in China and its history, Trevor-Roper was a last-minute addition to a delegation visiting Beijing and Xian. He was promised freedom of movement and access, though the reality turned out quite differently.

The art of falconry is more than 3,000 years old and possibly as popular now as at any time. Its devotees argue that in a pure form it is a deeply honourable tradition, requiring superhuman patience to coax a magnificent predator to hunt at the owner’s behest. It is a relationship, they would also claim, of mutual understanding and partnership between hawk and human. That’s the positive version. At its most degraded, falconry seems to be a psychopathological obsession, rooted in a fetish for control over beautiful raptors, which sometimes drives practitioners to morally dubious, even illegal, behaviour. The American journalist Joshua Hammer has written a revealing portrait of the sport that is located at a point where these two versions intersect.