More from Books

Thursday

James Mcnamara

The Australian literary icon who fooled her family

There aren’t many places you can get shouty about Proust without losing your job. The Lane Bookshop in Perth, Western Australia, is one of them. As an undergraduate, I’d pitch up there for work on Saturday mornings with as much song in the heart as a hangover allowed. Because for me the Lane wasn’t just a shop, it was a salon. The young staff, all writers, were encouraged (and fed, when cash was scarce) by the kind owners. Debates sparked between the shelves. And great Australian novelists came in to buy the books. The late Elizabeth Jolley was one of these. She must have been 80 when I last saw her, bird-thin with fiery eyes. Whenever she walked down the stairs, an awed hush descended.

Ted Hodgkinson

The man who loathed emoticons – especially :)) as it reminded him of his double chin

Paul O’Rourke, the narrator of Joshua Ferris’s third novel, is a dentist who spends his days staring into the murky recesses of his patients’ mouths. Despite encouraging them to floss, he is himself a man of curiously ingrained habits. Averse to the digital age and oddly superstitious, he stockpiles VHS recorders and watches the Boston Red Sox with a plate of bland chicken and rice, always careful to avert his eyes from the sixth innings. His small Park Avenue staff implore him to get with the times and develop a website for the practice; but Paul is a Luddite with no interest in kowtowing to a culture of smartphones and over-sharing. So when a well-produced website mysteriously appears and tweets under his name, he is understandably perturbed.

Matthew Sweeney

Ice Sculpture

If I begged you to, would you hitchhike to the ice-sculpture factory, where the drunken cow was just presented, and the sleeping horse was celebrated? Ah, those caught animals, where else would they be paraded? I visualise you sitting on a black camel, wearing a red fedora, and a maroon, velvet dress. It would be sunset, rosé wine would be flowing, the monkey would be dancing to zither music. I picture you laughing, then directing the singing to include a hymn to a snail, that small fellow who brings his home with him — easily shown in ice. And maybe an encore to a frog who sits on a plate, waiting to dance.

Michael Bywater

Stephen King – return of the great storyteller

Stephen King’s latest novel, Mr Mercedes, is dedicated to James M. Cain and described as ‘a riveting suspense thriller’ — a phrase so closely approaching 100 per cent semantic redundancy (a non-riveting thriller? A thriller entirely free of suspense?) that it tells us precisely nothing. All it does is declare that the reader will keep turning the pages. Which we will. That’s what King makes us do. Except Mr Mercedes isn’t, on the surface, a thriller; and you can bet that the consensus will be that King is writing what will be called ‘off-piste’. It’s a slender book, by his standards — only 400 pages — you can get it in your briefcase. There’s nothing particularly weird.

John McEwen

No special pleading needed for this disabled Dutch master

To discover an ‘unknown’ is the dream of anyone connected with the arts and in Johannes Thopas (c.1626-1688/95) we have just that. This book catalogues the exhibition now transfering from Aachen to the Rembrandt House Museum, Amsterdam (12 July–5 October). The curator is Rudi Ekkart, who discovered Thopas’s meticulous lead-pencil (plumbago) drawings on parchment as an art-history student in the early 1970s, when he had unlimited access to the University of Leiden’s famous drawing collection. After that he kept a record of everything to do with the artist, which now finds formal acknowledgment. Other recognised Dutch artists who were deaf and dumb have shown that a normal life could be profitably pursued.

Matthew Walther

Hillary Clinton’s autobiography seems destined to join her husband’s – in a bin marked ‘Free’

Last year a Washington-based journalist called Mark Leibovich wrote This Town, a book whose thesis was, roughly, that Washington-based journalists are terrible people. Leibovich’s book exemplified a trend among self-described Beltway insiders who decry as venial and insipid the trivialities they spend their lives reporting. Sounds a bit precious, I know, not to mention suicidal. But it’s supposed to be waggish and endearing and ironical. The latest victim of this coprophagic tendency is Hard Choices, Hillary Clinton’s third book. Barely a week after its publication, with over a million copies in print, it has already been written off by the hacks who spent months doing potted F.R.

Melanie McDonagh

Recipe for a modern baker: first, move to Hoxton

If I were the kind of person who invited people to come and have a bite to eat that very evening — and you’ve got to watch it in London, where people are inclined to draw themselves up to their full height, even by email, to ask what sort of sad case you think they are to imagine they’re free right now as opposed to in six weeks’ time — well, I’d reach for the Morito cookbook (Ebury, £26, Spectator Bookshop, £20).

Ian Thomson

The punk who inspired a generation of British woman to pick up a guitar

Viv Albertine is deservedly famous as the guitarist of the tumultuous, all-female English punk band The Slits. Their debut album, Cut, released in 1979, combined jangly Captain Beefheart-style guitarwork with reggae rhythms and sardonic social commentary. Ariane ‘Ari Up’ Forster, the vocalist, added an element of wild-child abandon to Tessa Pollitt’s infectiously heavy bass lines. The album is a masterpiece. Albertine’s memoir takes its title from her mother’s routine complaint to her: ‘Clothes, clothes, clothes, music, music, music, boys, boys, boys — that’s all you ever think about!’ Albertine came to Britain from her native Australia in 1958, aged four.

Connie Bensley

The breasts that launched Les Fleurs du Mal

This novel is based on the life of Charles Baudelaire and the relationship he enjoyed — or endured — with his Haiti-born mistress, his Black Venus, Jeanne Duval. We first see him in 1842, a young poet of 20, making his dandyish way through the slums of Paris to meet his friends at a cabaret theatre for an evening of wine and hashish. Here he will encounter for the first time his future muse. She is voluptuous, in a long red dress, singing risqué songs. In no time he is unlacing her boots and preparing to squander the legacy which he is shortly expecting. However, there are, as the author shows us, three people in this relationship, and the third one is Baudelaire’s mother.

Mark Mason

When Geoff Boycott was a DJ in a Sydney nightclub

Sport isn’t about putting a ball into a net or over a bar or into a hole. It’s about the people who are trying to do those things. Frank Keating, late of this and several other parishes and now just late, understood that truth, which is what made him such a great sports writer. Matthew Engel explains in the introduction to this anthology that his old colleague ‘liked sportsmen and made lasting friendships with them. This would be impossible nowadays.’ Most of the pieces report on those friendships rather than on matches: by portraying sportsmen as they were off the pitch Keating revealed what made them succeed on it.

James Walton

Those weren’t the days

If you wanted a brief epigraph for Linda Grant’s recent fiction, then five words from Dorothy Parker might well do the trick: ‘Time doth flit/ Oh shit.’ Certainly, there aren’t many writers who seem so astonished, even affronted, by life’s tendency (admittedly a strange one) to pass by more quickly than you ever imagined. Her previous novel, We Had It So Good, followed a group of students from the Oxford of the late 1960s to the present day, where they were bewildered to find themselves in the unthinkable position of being quite old. Now her new one does the same with a group of students from the York of the early 1970s. Inevitably, then, the two books do have similar themes, as youthful ideals come up against the annoyingly intractable world.

Thursday

Charlotte Mitchell

A pork-pie and Capri-Sun fuelled hike around England’s moors

‘No, no’ I said, when The Spectator’s literary editor rang up, ‘I’m sure you must be able to find someone who really wants to read another postcolonial analysis of the figure of the North African in English literature.’ But the book turned out to be about the other kind of moor, so I said yes, though not without some anxiety that it might be like Eeyore’s Gloomy Place: Rather Boggy and Sad. Luckily, William Atkins’s book, though it acknowledges that moors can be bleak, isolated and unforgiving, especially for permanent residents and those scraping a living off the land, is on the whole quite cheerful.

Fleur Adcock

Shorthand

Might you not have found him a little exhausting, though? If, for example, you were his mother, not given to innovative thinking yourself, and had this youth (in 1920 the word teenager was not current), forever coming up with a new interpretation of Genesis or sketching plans for a contraption that must be at least electrical, if not dangerous. And now this: a small ad in the Auckland Star – SHORTHAND in three hours. New system, easily learned. Send 5/- for course. C. Adcock, Te Rau-a-moa. That was in June; but on reflection three hours may have struck him as less than five shillings’ worth. So in December: SHORTHAND in three days. Write C. Adcock regarding the Veasy system… Oh, yes, ha ha – Veasy: v. easy. Did you make any money, Cyril?

Richard Davenporthines

The opéra bouffe that was the Bretton Woods conference

There ought to be a comic opera about the Bretton Woods conference — Thomas Adès’s Powder Her Face, about Margaret, Duchess of Argyll, with its mordant libretto by Philip Hensher, should be the model. Everything about the conference was overdone. It was held in 1944 in the gargantuan Mount Washington Hotel in New Hampshire, which provided a preposterous background of gimcrack luxury. The arrangements were as farcically managed as the Atlanta Olympics. The boy scouts who were dragooned in to help run the conference would make a wonderfully playful chorus in the Adès-Hensher opéra bouffe. There were 400 delegates from 77 countries — to say nothing of hundreds of slavering newshounds.

James Mcconnachie

A Labour MP defends the Empire – and only quotes Lenin twice

In a grand history of the British empire — because that is what this book really is —  you might expect more hand-wringing from a historian and Labour MP who has previously written a life of Engels. But despite quoting Marx half a dozen times (and Lenin, twice!) there is something about the idea of empire that excites Tristram Hunt. And this is a book about ideas, for all that it is rich in architectural description, economic fact and colourful anecdote. It describes how — and indeed when and where — the imperial ideology shaped and reshaped itself.

Matthew Dennison

Not quite romantic fiction, or literary fiction, or commercial fiction – but still quite good

Elements of Raffaella Barker’s new novel, her eighth for adults, suggest commercial fiction: a narrative that oscillates between the aftermath of the second world war and the present day, and two failsafe locations, Cornwall and the Norfolk coast. But From a Distance is not commercial fiction. Barker’s narrative is sparingly studded with quotations, but this is not literary fiction either. There is a strong love interest, which does not blossom into romantic fiction. Barker’s novel is a hybrid, enjoyable, ultimately heart-warming. It lacks the freshness and charm of the earlier Hens Dancing, but recalls some of its vividness and forensically detailed scrutiny of family life. In 1946, Michael, a demobilised soldier, avoids returning to his prewar life.

John Preston

The queen, the cardinal and the greatest con France ever saw

You usually know where you are with a book that promises the story ‘would violate the laws of plausibility’ if it appeared in a novel, and that’s in deep trouble. In the case of How to Ruin a Queen, however, this is a boast with a surprising amount of substance to it. You could make it up — just about — but you’d probably have a very sore head afterwards. In 1786 Cardinal Louis de Rohan, Grand Almoner of France and scion of one of the country’s leading families, went on trial accused of having stolen a 2,800-carat diamond necklace. This was serious enough, but what was far more serious was that he was accused of having appropriated the Queen’s name to do so.

Victor Sebestyen

A Pole’s view of the Czechs. Who cares? You will

When this extraordinary book was about to come out in French four years ago its author was told by his editor that it was likely to fail miserably. As Mariusz Szczgieł explains, the doubts were reasonable. No one was sure if anybody in the west would be interested in what a Pole had to say about the Czechs: ‘A representative of one marginal nation writing about another marginal nation is unlikely to be a success.’ But in 2009 Gottland won the European Book Prize (a serious award; the late Tony Judt’s Postwar won it the previous year) and it has been well received throughout the continent.

Thursday

Jonathan Keates

How to survive the rain-sodden Welsh Marches

The Welsh Marches, gloriously unvisited amid their wooded hills and swift-flowing streams, have remained mysteriously off-limits to the sort of novelist eager for territorial rights to a particular landscape or locality. Apart from Bruce Chatwin’s On the Black Hill and Mary Webb’s torrid 1920s sagas of heartache and claustrophobia in field and farmhouse, fiction has mostly steered clear of Wye, Teme and Clun and their adjacent mountains. Along comes Laura Beatty, however, not to trouble this haunting remoteness but to use it, with subtle obliquity, as a grid for mapping the emotional lives of her twin heroines, women divided by nearly four centuries.

John Akeroyd

Read this book and you’ll see why our meadows are so precious

This book is a portrait of one man’s meadow. Our now almost vanished meadowland, with its tapestry of wildflowers, abundant wildlife and rich human history, has long attracted English writers. Modern meadow books are usually copiously illustrated in colour to reach the coffee-table market, but John Lewis-Stempel bravely relies on lively elegant prose. His thoughtful, discursive, often humorous and always enjoyable narrative conveys a vital message, for one cannot overemphasise how important are these last ancient meadows. They are a cultural heritage and vital store of biodiversity, not least the genetic variation of grasses, clovers and other forage plants.