More from Books

Tuesday

Robert Adès

What do we mean when we say we are ‘giving up’?

Oscar Nemon’s statue of Sigmund Freud at the Tavistock Clinic glares out with such a contemptuous look of superior knowledge that Freud’s housekeeper told him it made him look too angry. ‘But I am angry,’ replied Freud. ‘I am angry with humanity.’ Meanwhile, the cover image of Adam Phillips’s new book on psychoanalysis is a detail of a figure from Michelangelo’s ‘Last Judgment’, cast down to damnation, face in hand, his eyes wracked with fear and regret, his muscular ring finger grinding anxiously into his muscular forehead. If you didn’t recognise him from the Sistine Chapel you could imagine an angry Freud, not an impassive Christ, glaring at him just out of shot. Phillips, while he can possess a contemptuous glare, is at least not angry with humanity.

Tuesday

Alex Clark

Extremes of passion: What Will Survive of Us, by Howard Jacobson, reviewed

There is not going gently into that good night, and then there is teetering into it on spiked-heel boots while strapped into a leather corset in search of clandestine kicks among like-minded fetishists. If it sounds an exhausting and chilly way to spend an evening, well, it is. At least, that’s how it feels to Sam Quaid, the middle-aged playwright who is beset by misgivings – he himself is dressed in ‘the more chicken-hearted guise of a fallen Quaker who had never seen the sun’ – but gamely determined to accompany his lover, Lily. Where is Sam’s obeisance going to lead him, or Lily?

Michael Arditti

Victims of a cruel prejudice: the last two men to be executed for sodomy in England

Seventy-three prisoners were condemned to death at the Old Bailey in 1835 at a time when there were more than 200 capital offences on the statute book. Nevertheless, all had their sentences commuted apart from two: James Pratt and John Smith, who were convicted of ‘the detestable and abominable crime’ of sodomy. The indictment stated that the accused had been ‘seduced by the instigation of the devil’ ‘The love that dare not speak its name’ may forever be associated with Alfred Douglas and Oscar Wilde, but the same reticence was clearly evident in the first half of the century.

Horatio Clare

Saviours of souls: the heroism of lifeboat crews

Our summer holidays by the sea were the thrill of the year and the lifeboat was the thrill the holidays. Whissh-crack! went the maroon, sending the dauntless crew and their punchy little vessel off into the waves to save souls. The Royal National Lifeboat Institution has been doing this for 200 years. Mariners and all of us must hope it never stops, because its story is the best of us. In One Crew, Helen Doe, a maritime historian, writes the official history with verve and precision.

Alex Peake-Tomkinson

Heartbreak in the workplace: Green Dot, by Madeleine Gray, reviewed

Hera, the heroine of Madeleine Gray’s first novel, is 24, which, as she says, ‘seems young to most people but not to people in their mid-twenties’. She lives in Sydney with her father and their dog and works as an online community moderator, but the contents of her work bag reveal her to be Bridget Jones’s edgier little sister: ‘My wallet, three pairs of underpants, headphones, nine tampons, a travel vibrator, two novels, a notebook, two beer caps, a bottle of sake and a fountain pen.’ She will also inevitably be compared to Hannah from Lena Dunham’s Girls and to Phoebe Waller-Bridge’s Fleabag. Gray’s writing style is droll but if Hera’s internal monologue sounds gauche and affected, it is useful to remember what the average 24-year-old sounds like.

Stuart Kelly

Progressives vs. bigots: How I Won a Nobel Prize, by Julius Taranto, reviewed

This is the kind of comic novel I greatly admire, because it makes me feel so anxious and wrong-footed. I laughed wholeheartedly until an inner voice chided, in a contradictory fashion, ‘that’s not supposed to be funny’ and ‘can’t you see it’s a joke?’ Given that the book is about that very modern set of dilemmas, my admiration for Julius Taranto’s work is even greater. The novel’s protagonist is Helen, a graduate student, who explains her field in the opening sentence: ‘The Rubin Institute had nothing to do with high-temperature superconductors, so I cannot say I had spent much time thinking about it.’ Her supervisor has been offered a position at the prestigious university, the catch being it is known colloquially as Rape Island.

David Honigmann

Thugs in drape jackets: when the Teddy Boys ruled the roost

In the wake of wars, youth cults spring up, those too young to have fought behaving in a way to scandalise those who did. The Bright Young People were the younger siblings of those who perished, battalion by battalion, on the Western Front. (Come to that, it was after the end of the Peloponnesian War that Socrates’s corruption of the youth became intolerable to Athens.) So when Max Décharné describes the Teddy Boys as Britain’s first youth counterculture, what he means is that they were Britain’s first working-class youth counterculture. The Notting Hill riots of 1958 were largely blamed on Teddy Boys, possibly incited by Oswald Mosley’s sons  Décharné sketches in the elements that made the Teddy Boys a phenomenon.

Francesca Peacock

The perils of Prague: Parasol Against the Axe, by Helen Oyeyemi, reviewed

An informal survey of friends, family, acquaintances and previous reviews suggests that the word most usually associated with Helen Oyeyemi’s fiction is ‘weird’. The author of eight novels has hardly shied away from unconventional storytelling, with books about everything from Brexit-through-biscuits (Gingerbread, 2019) to magical trains and a pet mongoose (Peaces, 2021). Her style is one of high and low: song lyrics jumbled up with references to medieval literature; nods to Shakespeare next to 1980s films. The result is either lauded – Oyeyemi was on the 2013 Granta list of best young novelists and her short story collection won a PEN award – or hated. In a TLS review, the novelist Claire Lowdon likened reading Peaces to ‘babysitting an over-indulged child’.

Thursday

Dennis Duncan

Is writing now changing the world for the worse?

How do you feel about writing? Does that sound like a bizarre question? OK, what about this? Do you worry that you don’t read enough? About the encroachment of screen time into book time? About the decline of letter-writing or penmanship? In universities, where ChatGPT has made a nightmare of written assessments, lecturers have had to fall back on viva voce interviews to determine whether students are the true authors of the essays they submit. My hunch is that writing – the idea of writing – is now more fretted over than celebrated; that what we feel towards this venerable invention is, on the whole, something like a complex of anxieties. At the same time, of course, there is a wild negativity bias going on here.

Charles Parton

The thoughts of Chairman Xi – in digestible form

While giving a talk on China I was asked an unusual question: ‘What is the one word you would use to describe China?’ By China we mean of course the Chinese Communist party (CCP) and, more specifically, Xi Jinping. My reply was: ‘Solipsistic.’ Xi wants China to lead the world, but to take very limited responsibility for solving the world’s problems Steve Tsang and Olivia Cheung, from the School of Oriental and African Studies, have produced a study in solipsism, and a mighty fine one. Xi and the CCP are solipsistic in the vulgar rather than true philosophical sense. They are supremely self-centred in their belief that the external world should exist or conduct itself only in so far as it reflects the CCP’s reality. Understanding Xi’s political thought is vital.

Philip Womack

Back from the beyond: The Book of Love, by Kelly Link, reviewed

Kelly Link’s short-story collections bewilder and delight with their sideways takes on fantasy tropes. People might turn into cats, but they do it while texting emojis (dancing lady, unicorn, happy face). In The Book of Love, Link’s debut novel, she revels in upholding and upturning the genre’s conventions. Mainlining Buffy the Vampire Slayer, and with a dose of recent teen Netflix fantasies such as Locke & Key, her setting is a small coastal town in Massachusetts to which three sarky adolescents have suddenly returned home – although not, as is generally supposed, from a short trip to Ireland, but from what they, alongside assorted supernatural beings, know to be Death itself.

Boyd Tonkin

The truth one year, heresy the next: The Book of Days, by Francesca Kay, reviewed

Bad historical novelists assume that people always live at the spearhead of their age. Good ones, like Francesca Kay in her fourth book, know that even when the world spins ‘faster than a weathervane in a gale’, most hearts and minds will tarry in the past, behind events. The Book of Days unfolds in a village north of Oxford in 1546 and 1547, as the unnamed old king dies and the accession of his child heir brings another round of ‘newfanglery’ in faith. The ‘commotion time’ returns with all its frightening convulsions: now, ‘what was truth one year is heresy the next’.

Claudia FitzHerbert

No one could match Tess, to Thomas Hardy’s dismay

In her disillusioned later years Thomas Hardy’s first wife, Emma, bitterly reflected: ‘He understands only the women he invents – the others not at all.’ In Hardy Women, Paula Byrne sets out to recover the stories of the women in his life ‘who did not have a voice and who were often deliberately omitted from Hardy’s self-ghosted autobiography’, in order to reveal that ‘the magnificent fictional women he invented would not have been possible without the hardship and hardiness of the real ones who shaped his passions and his imagination’.

Anne Margaret Daniel

Copyright chaos grows deeper by the minute

The law doth punish man or woman That steals the goose from off the common But lets the greater felon loose Who steals the common from the goose The authors of a fascinating new look at the patchwork chaos called copyright begin their book with this epigraph from an ancient English protest song against fencing, and thereby privatising, common land. David Bellos, a comparative literature professor at Princeton University and winner of the first International Booker Prize in 2005 for his translations of Ismail Kadare, and Alexandre Montagu, a lawyer specialising in intellectual property and new media law, have written a timely history of a ‘relatively simple idea – that authors have rights in the works they create’.

A.S.H. Smyth

The magic and mystery of Georgia: Hard by a Great Forest, by Leo Vardiashvili, reviewed

In my drafts folder there languishes an email to The Spectator pitching a letter from a then-forthcoming trip to Georgia. That was, alas, the spring of 2020. So when I saw Leo Vardiashvili’s debut novel billed as ‘a winding pursuit through the magic and mystery of returning to a lost Caucasian homeland’, I leapt at the vicarious travel opportunity. Fleeing the disintegrating post-Soviet republic in the early 1990s, Irakli Donauri and his sons (though not his wife) arrive in London – Tottenham, specifically – where they are surprised to find ‘no top hats, no smog and no afternoon tea’. The boys grow up; two decades pass; their mother never joins them. Then one day, overwhelmed by homesickness, Irakli returns to Georgia – and promptly disappears.

Nicholas Lezard

Music was always Anthony Burgess’s first love

Anthony Burgess, a professional to his finger- tips, knew how to write an arresting first sentence. The locus classicus is his opening to Earthly Powers. But try this for size, a lapel-grabbing start of a piece about William Walton in The Listener: Waking crapulous and apothaneintheloish, as I do most mornings these days, I find a little loud British gramophone music over the (a) bloody mary and (b) raspberry yoghurt helps me adjust to the daily damnation of writing. Apo-what? I have just enough Greek to know that it’s something to do with death; a helpful footnote reminds us that ‘άπο ϴανεΐν ϴέλω’, or ‘I want to die’ are the closing words of The Waste Land’s epigraph.

Alex Clark

Three men in exile: My Friends, by Hisham Matar, reviewed

Hisham Matar’s third novel is, among its many other virtues, a paean to reading widely; to imagining literature as not, in the narrator Khaled’s words, ‘a field of demarcations’, but as a great river that connects and animates ‘the entire human event’. Reading is how Khaled – exiled from Libya when his part in the anti-Gaddafi demonstration at the country’s embassy in St James’s Square in April 1984 made a return to Benghazi impossible – lays the foundations beneath his precarious life in London. Carrying with him his father’s copy of Abual Ala al Ma’arri’s The Epistle of Forgiveness, an 11th-century  precursor to Dante’s Divine Comedy, he ponders the links between Stendhal and Mahfouz, Borges and Conrad.

Francesca Peacock

Gang warfare in the west of Ireland: Wild Houses, by Colin Barrett, reviewed

Until now, Colin Barrett has made his name as an artist of the short story. Both his debut collection, Young Skins (2014) and Homesickness (2022) won him acclaim for their depiction of rural Ireland. But his tales stretch beyond the constraints of their size, and his dispossessed drinkers, small-time crooks and depressed teenagers seem too large and real to have their stories end in a matter of pages. Barrett’s first novel, Wild Houses, is, then, a delight, with a wider space for his talent to spread and for his acutely observed characters to linger. In the first few pages he gives us a man whose tattoos appear like ‘the pages of a medieval manuscript’ and another whose face is ‘blue-tinged as raw milk in a bucket’.

Tuesday

Leyla Sanai

Escape into fantasy: My Heavenly Favourite, by Lucas Rijneveld, reviewed

When Marieke Lucas Rijneveld won the International Booker Prize in 2020 for The Discomfort of Evening, a novel set in the Netherlands about the daughter of a dairy farmer growing up in a strict Christian household in the wake of the tragic death of her brother, the earthy, uncompromising voice was striking. The book was disturbing in its subject matter (the parents, blinded by grief, allow their remaining children to become semi-feral, experimenting with sex and death) and its visceral animal similes: bloody birth, brutal mating, culls for foot-and-mouth disease, slaughter. The ten-year-old girl protagonist had a lot in common with the author; and so it is again in My Heavenly Favourite, written under the name of Lucas Rijneveld.

Cindy Yu

An insider’s account of the CCP’s stranglehold on China

All families have secrets, but few family histories are classified by the state. After the death of Snow’s father, his study is cleared out by officials from the Chinese Communist party; but Snow discovers letters and unmarked hard drives hidden in hollowed-out dictionaries that they’d missed. The material reveals that her father was a high-ranking intelligence officer in the party, handpicked to build China’s intelligence service after the founding of the new People’s Republic. He’d hidden them for his family to find. Jie provides a rare insider account showing just how much the CCP knew and how much it covered up This isn’t the set-up for a new spy novel, but a true story.