More from Books

Saturday

Hugh Massingberd

Making the surgeon laugh

One of life’s longed-for little twists comes when the nice guy finally asserts himself and reveals a darker side to his personality. Alan Alda, celebrated for having played Hawkeye for 11 years in the television series M*A*S*H* and an actor who always seemed slightly too eager to ingratiate, had his moment of revelation as the creepy senator in The Aviator — a thrilling performance which was nominated for an Oscar last year. Significantly, the sea change occurred in what Alda desribes in this deft and witty memoir as ‘golden time’ following a life-threatening intestinal blockage in Chile in 2003. ‘Now, at last,’ he writes, ‘there was no pressure to succeed. There was nothing I needed to prove to anyone.

Patrick Skene-Catling

Coming to terms with the old man

Following the success of his first memoir, The Speckled People, Hugo Hamilton has written a second one, with the balanced shapeliness and emotional intensity of a very good novel. The Sailor in the Wardrobe is the story of his rite of passage from restricted late boyhood in Dublin to independent young manhood adrift abroad. The sailor of the enigmatic title was his paternal grandfather, who ran away from Ireland to join the Royal Navy and was killed at sea. His portrait in uniform was kept in the family wardrobe, a symbol of the confinement from which Hugo also yearned to escape. Hugo’s mother was a conciliatory German with Allied military government denazification credentials who migrated to Ireland after the second world war.

Francis King

Dirty tricks down Mexico way

Set in 2020, this has been described as a work of ‘futuristic’ fiction. Most such fiction — Forster’s The Machine Stops, Orwell’s Nineteen Eighty-four, L. P. Hartley’s Facial Justice — describes a world radically different from the one familiar to people at the time when it was written. However, in The Eagle’s Throne the fact that Condoleezza Rice is the first black female president of the United States is about all that differentiates Fuentes’ satiric vision of the political world of the future from the actual one today. May it not be that, in setting the date of his story 14 years ahead, he merely wished to avoid the charge that he was pillorying real-life people?

Anthony Daniels

Murdering for diamonds

It was at Freetown Airport, which even before the civil war could be reached only with some difficulty, that I learnt that there was such a product as Johnny Walker Blue Label, about ten times as expensive as the Black Label variety. Since Sierra Leone was conspicuously impoverished and broken-down, I would have guessed from the offer for sale of this ostentatiously expensive luxury (if I hadn’t already known it by other experiences) that the country was in the hands of a rapacious and vulgar elite. The civil war broke out soon afterwards. It seemed that the participants were determined to prove that Gerard Manley Hopkins’ line,’ No worse, there is none’, could have no application in human affairs.

Ferdinand Mount

Ornery and extraordinary

Decayed gentility and a feckless father. These make the springiest springboard for the angry artist. Dickens, Picasso, Joyce, Shaw, Francis Bacon all enjoyed these unsung advantages in life. So did Samuel Langhorne Clemens who called himself Mark Twain, after the cry of the leadsmen sounding the depths in the treacherous waters of the Mississippi (twain=two fathoms, or 12 feet). The Clemenses had come west from Virginia by way of Kentucky with half a dozen slaves and irrepressible dreams of remaking their fortune.

Saturday

Frederic Raphael

The Timon of Lyme Regis

Dr Johnson talks somewhere of a Reverend Dr Campbell whom he calls the ‘richest man ever to graze the pasture of literature’. If his riches derived from his books, he was surely outgrossed by John Fowles, whose novel The French Lieutenant’s Woman topped all the bestseller lists, and remained on the New York Times list for a full year. Fowles’s advances reached $250,000. Even The Ebony Tower, a soft-porn novella, and a clutch of short stories made him a small fortune. Hollywood films were made of FLW (as he refers to it) and of his earlier novels The Collector and The Magus, though none was worth seeing. The movies are always said not to do justice to literary sources, but they often reveal fustian, bluff and heartlessness.

Brendan O’Neill

Pressuring the press

I feel I ought to start this review by letting the authors know that I will not enter into correspondence with them. However much they might loathe what I am about to say and wish to bombard me with emails ridiculing my reasoning, I regret to tell them that I will be far too busy to respond. That might look like a weird intro to a review, until you realise that the authors being reviewed — David Edwards and David Cromwell — run a pressure group called Medialens which is in the business of berating journalists (and encouraging others to do likewise) for their perceived prejudices. Medialens is like a radical leftist version of Ofcom, an unelected outfit that presumes the authority to lecture reporters and broadcasters, usually via email, about their shortcomings.

Jonathan Mirsky

The return of the native

Brian Power’s book, like the best Chinese paintings, contains a lot of empty space. You can either concentrate on what you see, or you can let your mind and imagination glide over into what might have been there. I have a silk-screen of a painting by the Song dynasty master Liang Kai (13th century) on my wall; Li Bai, the great Tang dynasty poet (8th century), probably drunk and standing on tip-toe, is gazing up at the moon. There is no moon in the picture, only the empty, not blank, space. I know the moon is there because in one of his poems Li Bai describes looking up at it. Power’s book is like that. Misty figures appear and disappear; are they real, in a dream, or one of his ‘reveries’?

Amanda Herries

Not to the manor born

Six years ago I embarked on a little redecoration of my husband’s family house, over 200 years old in south- west Scotland. ‘Ah’, said a knowing friend from the Highlands, now a neighbour, who would soon embrace the same task, as we ripped up floorboards, struggled with ancient heating systems and filled skips; ‘ah’ she said, ‘the generational refit.’ It is the same exercise which lies at the heart of Belinda Rathbone’s well-observed description of ten years of similar effort near Arbroath in the Scottish Highlands, at her new husband’s ancestral home, a Georgian mansion called the Guynd.

Jane Ridley

The man who saw the Jabberwock

John Tenniel’s name means little today, but everyone knows his work. Tenniel was the artist who illustrated Lewis Carroll’s Alice in Wonderland, creating those unforgettable images of the little girl in the Alice band who shrinks and grows so alarmingly. The cartoons which Tenniel drew each week for Punch have survived as well. Thanks to Tenniel, we still think of a grim, hatchet-faced Gladstone chopping trees, or a jaunty but distinctly Semitic Disraeli in coronet and toga. Political cartoonists like Tenniel wielded massive influence in the days before press photography. Tenniel trained as a history painter, but aged 30 he gave up the roller- coaster of high art and got a job on the staff of Punch. For over 50 years, starting in 1850, he churned out cartoons.

Piers Paul-Read

Post-war feuds and dilemmas

Albert Camus was an exceptional man who lived in interest- ing times. His parents were pieds-noirs — French settlers in Algeria. His father died at the battle of the Marne and he was raised by his mother, an illiterate cleaning lady. Encouraged by inspired teachers, he won scholarships to a lycée and then university in Algiers. He published his first book at the age of 24, and worked as a journalist, first in Algiers and later in Paris. At the outbreak of the second world war, ill-health exempted him from military service. He worked as a reader for Gallimard, and wrote a classic novel of existentialism, L’Etranger, and a philosophical essay, Le Mythe de Sisyphe. Both were published in 1942.

John Grimond

Blaming the wicked West

An unkind thought keeps coming to mind as you read this book: perhaps Henry Ford was right, after all. It is unkind because so much of Guy Arnold’s great opus is admirable. As an account of the main political events that have taken place in Africa since 1960, it is awe-inspiring, some might even say awesome. Arnold’s ability to assemble facts, everywhere from the Cape to Cairo, from Dakar to Djibouti, is as commendable as his clear, jargon-free style. Yet, if his history is not bunk, it is certainly deeply unsatisfying. It contains hardly an original observation and provides no clear answers to the difficult questions about Africa, in particular, ‘What’s wrong with the place and why doesn’t it work?

Olivia Glazebrook

Very high dudgeon

Harold Cleaver is a middle-aged man at the pinnacle of his career. A ‘celebrity-journalist, broadcaster and documentary film-maker’, he has just interviewed the President of the United States, and asked him some pretty searching questions. This interview has earned Cleaver wide acclaim. Unfortunately, his professional success is overshadowed by a personal crisis. His eldest son Alex has written a book, titled Under His Shadow, which has received a good deal of publicity. The book is a cruel assassination of Cleaver’s character. It mocks his vanity, lampoons his egotism and viciously attacks his pomposity. Cleaver is horrified. He goes into a monumental sulk, and abruptly takes off for the Alps to lick his wounds in as remote a spot as he can find.

Sam Leith

The Luther of medicine?

The man christened Philip Theophrastus Bombast von Hohenheim, in a mining town in Switzerland in the last decade of the 15th century, has been more mythologised than described: as a Faust, a Prometheus, a holy fool, a eunuch, a necromancer. It is not hard to see why he was attractive to the Romantic poets and remains — even in the works of J. K. Rowling — shorthand for a whiff of brimstone. He’s a myth. But, like most myths, he’s also an idea, and an interesting one. Paracelsus himself was a stocky, odd little bloke. Contemporaries attest that he was often drunk and seldom changed his clothes. He seemed, much of the time, as mad as a badger. He was vastly boastful, and heroically rude about his enemies.

Saturday

Nicholas Kenyon

The composer and his phoenix

One of the most memorable images in the much-disputed film of Peter Shaffer’s play Amadeus shows Mozart retreating from an ugly family quarrel in Vienna. Leaving his demanding father and new wife to bicker, Mozart retreats into his room; with manuscript paper scattered across the billiard table, he knocks a few balls around and writes the wonderful scene of family reconciliation at the end of The Marriage of Figaro. That famously beautiful final scene is a utopian vision of what could be possible, but as we listen we surely know that it is as unlikely to endure as perfect harmony in the Mozart household. David Cairns writes that ‘Mozart’s reconciliations are real ...

M R-D-Foot

After such knowledge, what forgiveness?

Most of this powerful book was written nearly 60 years ago. It was then rejected by two London publishers as too anti-Soviet in tone, and a few years later by two more as too anti-German. It consists of the war recollections of a Polish countess of notable ancestry and equally notable courage, who describes exactly what it felt like to live under Soviet and then under German military occupation.

Diana Hendry

All gas and gaiters

It’s irrelevant, I know, but I can’t help wondering what it was like living with D. J. Taylor while he was writing this opus. It’s so steeped in Victoriana and (as Taylor acknowledges) in the fictional worlds of Dickens, George Eliot, Thackeray, Trollope and co. and it’s so big that I picture him emerging into the 21st century maybe just once a week, on a Sunday. If you want to opt out of the 2lst century and hark back (oh, it’s catching!) to an era of gas lamps and legal clerks scuttling about the grimy streets of London, while the squire sits in his country estate with a stuffed bear in his study and a statutory mad woman in his attic, then this is for you.

Oliver Rackham

All roots and branches

This book covers all the trees that now live or have ever lived: what they are, how they function, how they grow, their relation to environment, plants, animals, and the human species. It is full of curious information, traditional and recent: there are fascinating new developments in long-familiar stories, such as the part played by parasitic worms in the symbiosis between figs and fig-wasps. The author is a distinguished journalist and scientist. His book is a brave attempt to boil down a huge amount of detail for the general reader. I am reminded of Rachel Carson’s The Sea Around Us, which inspired my youth. However, like all tree writers, he seems unable to avoid errors and exaggerations (‘the tree must compete through every second [of its life]’).

Interconnect

Progressive up to a point

Henry Cockburn (1779-1854) was a Scots advocate, Solicitor-General in the reforming Whig government of 1832-41, later a judge, contributor to the Edinburgh Review and author of delightful, posthumously published memoirs and journals. A considerable figure in the Edinburgh of his time, he is commemorated in the Cockburn Association, one of the earliest conservation societies, founded in 1875. He has been the subject of an admirable biography by Karl Miller, while his impersonation by the actor Russell Hunter in a one-man play, Cocky, revived interest in him 30 years ago. But I suppose he is little known in England, though a few will know of him as the great-great-grandfather of both Evelyn Waugh and the Marxist journalist Claud Cockburn.

David Ekserdjian

Coping with the Van Gogh syndrome

In the context of the visual arts, the notion of misunderstood genius is a comparatively recent one, and seems to be a by-product of Romanticism. In spite of such exceptions as Vermeer, whose current reputation stands so much higher than it did in his own day, in the main the Old Master canon remains startlingly unchanging. This state of affairs begins to change in the 19th century, and one unhappy consequence of what might be termed the Van Gogh syndrome is that we are now inclined to view artists who were outrageously successful in their own day with downright suspicion. Sir Thomas Lawrence is surely as good a case in point as one could hope to find of this topsy-turvy prejudice.