More from Books

Thursday

Laura Freeman

The Angel of Charleston, by Stewart MacKay – review

Above the range in the kitchen at Charleston House is a painted inscription: ‘Grace Higgens worked here for 50 years & more, she was a good friend to all Charlestonians.’ The words are those of the art historian Quentin Bell, once one of Grace’s young charges. Grace was taken on by the Bloomsbury group painter Vanessa Bell in 1920 to be nursemaid to her three children: Julian, 12, Quentin, nine (by her husband Clive Bell) and one-year-old Angelica (by her friend and lover Duncan Grant). She was the heart and hearth of Charleston, Vanessa’s studio-cum-farmhouse in Sussex. Where Vanessa was austere and Duncan distracted, Grace was warm, smelling always of ‘moist, homemade fruitcake’.

Lloyd Evans

The ‘semi-detached’ member of Margaret Thatcher’s cabinet

John Biffen was mentally ill. This is the outstanding revelation of Semi-Detached, a memoir which has been assembled from his diaries and from the autobiographical writings which he completed before his death in 2007. During the mid-1960s he tried psychotherapy, which he described as ‘lugubrious’, ‘painful’ and ‘not a cure’. He got far better treatment from a Harley Street specialist, Peter Dally, who regulated his lithium doses with blood tests and improved his health to the point where he felt able to join the shadow cabinet in 1976. He served as Trade Secretary under Mrs Thatcher and later as Leader of the House. Biffen loved gossip.

David Womersley

Hugh Trevor-Roper, the man who hated uniformity

The arrival of a letter from Hugh Trevor-Roper initiated a whole series of pleasures.  Pleasure began with the very look of the envelope, addressed in his wonderfully clear, elegant hand (writing to Alasdair Palmer in 1986, he advised ‘No, don’t type your letters . . . reject the impersonality of the machine’; and towards the end of his life, when his sight was failing, it was a matter of particular regret that this ‘played havoc’ with his handwriting). But the envelope was just the prelude to the contents, which could be relied on to be stylish, amusing, witty, imaginative and playful.

Cressida Connolly

‘Where are the happy fictional spinsters?’

This book arose from an argument. Lifelong bookworm Samantha Ellis and her best friend had gone to Brontë country and were tramping about on the Yorkshire moors when they began bickering: would it be better to be Cathy Earnshaw, or Jane Eyre? Ellis had always been fervently in the Cathy camp, re-reading Wuthering Heights every year (often in the bath) and swooning. But now, in her thirties, came an epiphany. She’d chosen the wrong heroine. This was understandable, given the ‘high drama’ of her family background, in the small community of north London Jews exiled from Baghdad. As she puts it: An Iraqi Jewish endearment, fudwa, means ‘I would die for you’. In a five-minute phone call about yoghurt my grandma can offer to die for me ten or fifteen times.

Anne Chisholm

Breakdowns, suicide attempts — and four great novels

Among the clever young Australians who came over here in the 1960s to find themselves and make their mark, a number, as we all know, never went back. A few became household names — Germaine Greer, Barry Humphries, Clive James — and British cultural life owes them a great deal. Madeleine St John, the novelist and semi-reclusive eccentric who smoked herself to an early death in London in 2006, was one of them; but although eventually she made a  minor literary reputation for herself, writing four novels in her middle age of which the third, The Essence of the Thing, made the Booker shortlist in 1997, she has remained largely unknown here.

Harriet Sergeant

Is there a way to live without economic growth? 

During Japan’s lost decade in the 1990s I found myself handing out rice balls to Tokyo’s homeless on the banks of the Sumida river. The former salary men — it was always men — slept in cardboard boxes the size of coffins. I peered into one. Its owner had neatly arranged his last few possessions. Crockery, two wash rags and a blanket were all emblazoned with the designer logos I associated with Japan’s boom years when I had lived in Tokyo. They had washed up like artefacts from another age in this unlikely setting. They signalled more than anything else to me that Japan’s economic miracle was well and truly in the past. Financial Times Asia editor David Pilling lived in Japan for seven years.

Adam Foulds

Butcher’s Crossing is not at all like Stoner — but it’s just as superbly written

John Williams’s brilliant 1965 novel, Stoner, was republished last year by Vintage to just, if surprisingly widespread, acclaim and went on to sell tens of thousands of copies and appear in many Books of the Year lists. Written with a sober perfection of style that suits its subject — the elegantly factual glowing with a careful lyricism — Stoner depicts the life of a diligent Midwestern literary academic that is often one of quiet desperation but is periodically shot through with luminous moments of insight and love. Now Vintage have republished Williams’s earlier novel, Butcher’s Crossing.

John Greening

At Kew

To Occupation Road again, a whole year nearer my own retirement now. The track slopes down past the Record Office to the river. I am looking for any of the soft fruit canes my grandfather planted, but find instead a stag beetle upside down on the tarmac, struggling like a memory, the feelers at full stretch. Maybugs! she shudders. The pathway ends at the Thames, where I note flood defences, vaguely recall the waterworks, and suddenly they have found me as a train breaks through the overgrown embankment. I want to look up and see my father at the glass, returning, and wave to him.

Thursday

Andrew Lambirth

John Bellany: potent, prolific, patchy

When John Bellany died in August last year, an odyssey that had alternately beguiled and infuriated the art world came to an end. Famously, Bellany had nearly died from liver failure in 1988 after years of hard drinking, but an organ transplant saved his life and gave him another 25 years of painting. Although his health was latterly precarious (he had a near-fatal heart attack in 2005) he was determined to continue working. His output was prodigious, but inevitably tended to be uneven. As both the artist and his sympathetic biographer, John McEwen, admitted, Bellany’s post-1970 work requires strict editing. (Bellany confessed that he had to paint a dozen pictures to get one beauty. Unfortunately, too many of the also-rans have found their way onto the art market.

Richard Davenporthines

Critics can be creative – look at Malcolm Cowley

Even Spectator book reviewers have to concede that their craft is inferior to the creative travail of authors. Henry James railed against the practitioners of literary criticism long ago: So much preaching, advising, rebuking & reviling, & so little doing: so many gentlemen sitting down to dispose in half an hour of what a few have spent months & years in producing. A single positive attempt, even with great faults, is worth generally most of the comments and amendments on it. The American critic Malcolm Cowley (1898–1989) escapes these anathemas because early in his long life he was a poet of some distinction. For nearly 70 years, too, he produced essays and books which together constituted a literary history of the United States.

Stephen Walsh

Shostakovich, Leningrad, and the greatest story ever played

The horrors of the Leningrad siege — the 900 Days of Harrison Salisbury’s classic — have been pretty well picked over by historians; and meanwhile the story of Shostakovich’s Seventh Symphony, the improbable circumstances of its composition and first Leningrad performance in August 1942, is well known from the extensive, and still growing, literature on the composer. But Brian Moynahan’s book is the first to my knowledge — in English at least — to interweave these narratives to any significantly detailed extent. Moynahan is not a musician, and this is not really a book about music.

Jonathan Croall

The National Theatre Story by Daniel Rosenthal – review

In 1976, as the National Theatre moved into its new home on London’s South Bank, its literary manager Kenneth Tynan observed: ‘It’s taken 123 years to get here: 60 of Victorian idealism, half a century of dithering, and a final 13 years in the planning and building.’ Today, still under Nick Hytner’s dynamic and broad-church directorship, the National is in rude health both artistically and economically. But as Daniel Rosenthal makes clear in this magnificently detailed history, published to mark the theatre’s first half-century, the journey has been a supremely hazardous and contentious one.

Jane Ridley

What was the secret of Queen Victoria’s rebel daughter?

Princess Louise (1848–1939), Queen Victoria’s fourth daughter, was the prettiest and liveliest of the five princesses, and the only one who broke out of the royal bubble. Artistically talented, she trained as a sculptor, and her marble statue of Queen Victoria can still be seen in Kensington Gardens. Unlike her sisters, who all married royals, Louise became the wife of a commoner, Lord Lorne, later Duke of Argyll. The marriage was childless and unhappy, and the couple lived separate lives. Like that other rebel, Princess Margaret, Louise was clever but difficult. She could be charming and witty one moment and unexpectedly disagreeable the next. She kicked against the royal rules, but she was only too willing to pull rank when she felt like it.

Anthony Cummins

This year, discover Michel Déon

In Roberto Bolaño’s novel 2666, the efforts of an academic claque propel the mysterious German author Benno von Archimboldi onto bestseller lists across the Continent. But ‘in the British Isles, it must be said, Archimboldi remained a decidely marginal writer’. Bolaño’s joke came to mind when I looked at the website of the French novelist Michel Déon, who has won awards and been translated ‘into German, Spanish, Portuguese, Italian, Greek, Turkish, Russian, Chinese, Lithuanian, Indian, Japanese, Polish, and once in English’, even though he’s lived in Ireland for more than 40 years. At least it’s twice now, thanks to the excellent Julian Evans.

William Wootten

Dayshifts

The Man in the Moon will come on Tuesday. He will wear his grey hat and be travelling alone. Take his luggage and his staypress suits — and, Should he speak, converse about the ocean, Women or the rush on the delivery wards. I assume he’ll take the Penthouse Suite. Do check the ice-tray in the minibar. Make sure the curtains have been drawn, And say I’m sorry that I could not stay — It’s too long since we both worked the night.

Friday

Jane Ridley

The food of love | 3 January 2014

The Albek Duo are two astonishingly beautiful and talented Venetian musicians, Fiona and Ambra, who are identical twins. Hearing the sisters perform inspired Christopher Ondaatje to create this book. He tells a story — ‘Love Duet’ — in which he imagines what would happen if the twins both fell in love with the same man. They agree that one should marry, and they should carry on as before. For the sisters, abandoning their music or each other is unthinkable. This is an anthology of stories on the theme of music and how it can govern our lives and express our emotions. You don’t need to be a concert-goer to enjoy this book — all the pieces assembled here are accessible and absorbing.

Sophia Waugh

An utterly charming, totally bonkers short novel

This utterly charming, totally bonkers short novel is something from another age. There are elements of A Handful of Dust (the young girl trapped reading Dickens), of Rebecca (the undervalued companion of a cantankerous employer), of fable and fairy tale and even of Restoration comedy. Victoria, young, pretty, big-bosomed, is the companion of a blind man of letters who lives in considerable style in a house in Italy. Her mother is drunk, her employer eats only eggs and dislikes women. Escape she must, and she does so via a vapid young man who falls swiftly in love with her, marries her and conveniently dies. Enter Lettice, a mother-in-law direct from Hades.

Ian Thomson

The many attempts to assassinate Trotsky

Leon Trotsky’s grandson, Esteban Volkov, is a retired chemist in his early eighties. I met him not long ago in the house in Mexico City where his grandfather was murdered in 1940 with an ice-pick. Volkov had grown up in that house surrounded by 20-foot garden walls and watchtowers with slits in them for machine-guns. The protection was no defence against Trotsky’s eventual assassin, the Spanish-born Stalinist Ramón Mercader, who very ably infiltrated Trotsky’s Mexico circle and, on 20 August, struck the revolutionary on the front of his head with that gruesome weapon. Trotsky bellowed in pain but managed to fend off his assailant before collapsing. His bodyguards hurried in and beat off the intruder; Trotsky was rushed to hospital, where he died the following day.

Lewis Jones

Finally, a celebrity memoir worth reading

Unlike many celebrity memoirs, Anjelica Huston’s is worth reading. In her Prologue she writes that as a child she modeled herself on Morticia Addams, and where a lesser celebrity memoirist would go on to say that she eventually played Morticia in a film of The Addams Family, Huston is generous enough not to labour the point. Instead of the usual ghosted drivel, she offers — as she does in her acting — a quirky charm and a reckless honesty. Her story is an interesting one, and is generally well written, sometimes even beautifully so. Her father was the great film director John Huston.

Ben Hamilton

Do Manet’s asparagus remind you of your struggling long-term relationship?

In calling their book Art as Therapy Alain de Botton and John Armstrong have taken the direct route. They’re not waiting for us to interpret their motive: their title tells us everything. Art, the theory goes, can help us improve our psychological state in a way that’s progressive and cumulative. It can assist our relationships, our careers, our money concerns. Art is a tool which ‘compensates us for certain inborn weaknesses, in this case of the mind rather than the body’. It is a ‘therapeutic medium’, and it should be treated as such. This means that galleries, instead of arranging works by period or style, should place art in emotive groups, based around how they can reform and enrich our own lives.