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Geoff Dyer, eh? Geoff Bloody Dyer – without doubt one of contemporary Eng. Lit.’s most successful, intellectually playful and stylistically distinctive voices. His extraordinary oeuvre spans fiction, non-fiction, memoir, criticism and genre-defying hybrids, often likened – I don’t know by who, but by me at least now – to greats such as W.G. Sebald or Roland Barthes. Dyer expertly navigates the tricky territory between high culture and everyday experience, balancing erudition with comic digression in books ranging from Out of Sheer Rage (a hilarious study of not writing a book about D.H.

Three years ago, when memories of the final series of HBO’s Game of Thrones were still fresh, Joanne Paul published The House of Dudley, a gripping account of three generations of the Dudley family, whose efforts to seize the crown from the Tudors, as I noted in these pages, made the machinations of the Lannisters and the Starks look tame. Now, hard on the heels of the final instalment of the BBC’s adaptation of Hilary Mantel’s Wolf Hall trilogy – and with a revival of Robert Bolt’s A Man for All Seasons opening in the West End in August – Paul has published another book equally attuned to the zeitgeist.

‘The publisher who writes is like a cow in a milk bar,’ Arthur Koestler once declared. For some reason this put-down has never stopped publishers from fathering their memoirs, and the book trade titan’s life and times used to be as much a staple of the library shelf as slim volumes of nature poetry. As in other branches of life-writing, the procedural approach tends to vary. There are practical primers – Stanley Unwin’s The Truth about Publishing, say, from the year of the general strike, or Anthony Blond’s The Publishing Game (1971); there are delightful vagaries in the style pioneered by Grant Richards’s Author Hunting (1934); and there is the emollient, if not absolutely vainglorious, reminiscence, most recently on display in Tom Maschler’s Publisher (2005).

Richard Ellmann’s acclaimed life of James Joyce was published in 1959, with a revised and expanded edition appearing in 1982. The first edition, the work of an ambitious young American academic, received what Ellmann’s editor at Oxford University Press described as ‘the most ecstatic reaction I have seen to any book I have known anything about’. Ellmann’s work would ‘fix Joyce’s image for a generation’ wrote Frank Kermode in The Spectator, a prediction described by Zachary Leader as ‘if anything, too cautious’. By the time of the second edition, Ellmann had become a lionised Oxford don and the image of Joyce he had fixed was starting to chafe.

As a young child in the mid-1960s, Cécile Desprairies listened hour after hour to her mother Lucie dreamily recalling the 1940s, dwelling on a past peopled by undefined heroes and ‘the bastards’ who murdered them. Names were rarely mentioned or hastily passed over. In the fashionable Paris apartment there were daily gatherings – her mother, aunt, cousin and grandmother twittering like birds, obsessed with fashion and cosmetics. Between trying on clothes, there was endless looking back at a lost golden age and lamenting the disasters that followed. Lucie was always in charge, her second husband Charles, Cécile’s father, casually excluded. There was gossip about acquaintances, women with Jewish names described as ‘wealthy’, all apparently orphaned.