After three hot-water-bottle-warmed evenings of highly satisfying bedtime reading, I can confirm that, even in a world where Francis Spufford’s superb The Child that Books Built exists, we need this new memoir by Lucy Mangan, about her childhood of being a bookworm. It’s enchanting.
Taste has a well-noted ability to evoke memory, so it is curious how infrequently most wine writers mine their pasts for inspiration. You wouldn’t think that some had ever fallen in love, read a novel or even got drunk. Instead they obsess over scores, sulphur and diurnal temperature variation. Thank heavens for Nina Caplan, who brings a bit of hinterland to this often dry subject in her weekly New Statesman column. Characteristically, The Wandering Vine, her first book, is about much more than wine. It’s a heady blend of travel, literature, memoir, history and what I can only describe as psychogeography, though don’t let that put you off. The publishers have given the book a whimsical cover, which is misleading, because this is not a lightweight read.
On the wall of her tumbledown house in central Baghdad, an elderly Christian widow named Elishva has a beloved icon of St George with his lance raised. She chats with the saint like an old friend, but wonders why, in the picture, he stays frozen mid-thrust and why ‘he hadn’t killed the dragon years ago’. As her ravaged city suffers an interminable ‘binge of death and devastation’, Elishva frets that ‘everything remained half-completed’, three years after the Anglo-American invasion of Iraq in 2003. During the blood-soaked interregnum, which continues to this day, monsters breed.
‘Dreaming spires’? Yes, but sometimes there are nightmares. Brian Martin, awarded the MBE for services to English literature, is at home in Oxford, where he spent most of his career teaching, and seems to know all about the professional and psychological complexities of the university. Holt College, his fourth novel, written with dedicated probity and Baedeker thoroughness, is a suspenseful tragedy without a hero — just a few men and women who mean well. Concerned with the administrative deliberations and manoeuvrings of the fellows of a respected, ancient college, the story serves analogically to show how an unscrupulous individual of obsessive ambition and manipulative cunning can turn even the most idealistically conceived democracy into a dictatorial hierarchy.
‘And this is good old Boston/, The home of the bean and the cod,’ John Collins Bossidy quipped in 1910, ‘Where the Lowells talk to the Cabots/, And the Cabots talk only to God.’ Also home, in 1968, to Mel Lyman, a folk musician turned LSD guru who believed he was God, and to Van Morrison. The music business abounds with stories about Morrison being grumpy. In my experience, he’s perfectly reasonable. You’d be grumpy if your job obliged you to consort with thieves, liars and drummers who can’t keep time. You’d be especially irritated by people asking how you wrote Astral Weeks. Sensibly, Morrison explains that Astral Weeks was written by a different person living, as its title song says, ‘In another time/ In another place.
Sea Shepherd is a radical protest group made famous — or notorious — by the American cable TV series Whale Wars and by the support of numerous Hollywood celebrities and rock stars. Having previously concentrated on obstructing whale-hunting from Japan to the Faroe Islands, it now focuses on other devastating acts of marine plunder. In Catching Thunder, written with Sea Shepherd’s active co-operation, the Norwegian journalists Eskil Engdal and Kjetil Sæter tell the story of a 10,000-mile sea chase, lasting 110 days, in which the organisation sought to bring to justice a Spanish vessel illegally trawling for highly endangered toothfish in the Southern Ocean.
The Shangri-Las’ song ‘Past, Present and Future’ divides a life into three, Beethoven-underpinned phases: before, during and after. Each section turns in on the next, binding them together with devastating effect. It is one of the oddest and most radically structured moments in pop, and one that came to mind when reading these three very different debut novels. With similar temporal concerns to the Lieber-Butler-Morton lyric, each traces the implications of past action on the present —and how these in turn could shape the coming years. The future is most notably explored in Danny Denton’s brilliantly conceived The Earlie King & the Kid in Yellow, a polyphonic trawl through the murky waters of a permanently raining Irish dystopia.
The precarious stasis of late pregnancy offers the narrator of Jessie Greengrass’s exceptional first novel a space — albeit an uncomfortable one — for reflection. She sifts through her own immediate and past experience: caring for her dying mother in her early twenties; her relationship with her partner Johannes; her childhood; the birth of her first child. This fragmented narrative is intercut with the stories of Wilhelm Conrad Röntgen, the inventor of the X-ray; Sigmund and Anna Freud; and the 18th-century anatomist, surgeon and empiricist John Hunter — along with other brief cameos from the history of science, from the Lumière brothers to the engraver Jan van Rymsdyk.
‘I am interested only in stretching myself, in living as fully as I can.’ Lara Feigel begins her thoughtful book with this assertion by Anna Wulf, the protagonist of Doris Lessing’s The Golden Notebook, and it rather sums up the whole endeavour of the volume. Feigel weaves close readings of Lessing’s prose, both fiction and non-fiction, with accounts of her own self-stretching. Feigel, an academic, had read Lessing as an undergraduate, but, returning to her in her thirties, she discovered in the books a stimulating discussion about ‘how as a woman to reconcile your need to be desired by men with your wish for sexual equality’. She is particularly interested in the way Lessing ‘placed sexual fulfilment at the centre of women’s lives’.
You attempt to write a review with a stiff dose of objectivity, but it’s hard not to start with a degree of fondness for an anthology put together by a magician who has performed in North Korea. Dale Salwak also has a sideline as a professor of literature at Citrus College in Los Angeles, and Writers and their Mothers is a collection of 22 pieces he has edited, by novelists, poets and literary critics, some biographical and analytical, some autobiographical. In his introduction, Salwak makes reference to an assertion by Georges Simenon that writers are ‘united in their hatred of their mothers’, an assertion, I’d suggest, that tells you much more about the whore-mongering Simenon than about writers in general.
The arrival at a new foreign posting for a junior diplomat’s wife in the first half of the last century was no glamorous picnic, as she grappled with a ceremonial sword in a golf bag, three months supply of toothpaste, a crate of hot water bottles and enough safety pins for every emergency. Born in 1915, and having lived in Brussels, Paris, Latvia, Persia and China as a diplomat’s daughter, Elisabeth Knatchbull-Hugessen, aged 24, married Gerry Young, a man from her father’s profession. With marriage she continued the familiar routine of packing and unpacking, and arriving at, and departing from, different countries.
In April 1945, the Japanese battleship Yamato — the largest and heaviest in history — embarked upon a suicide mission. The ship sailed to Okinawa, where a huge American assault was taking place. Under extensive enemy fire, it sank, as was expected, to the bottom of the Pacific. With it, it took 2,280 of its crew. Survivors’ accounts exist and continued to be taken until very recently. They describe seamen lost even on board, unable to find their living quarters because of the sheer size of the vessel; arrows painted on decks to indicate the direction of the bow or stern; and the testing days before what the crew knew would be the battleship’s last mission. Jan Morris, however, does not include the human stories of the Yamato.
Steven Pinker’s new book is a characteristically fluent, decisive and data-rich demonstration of why, given the chance to live at any point in human history, only a stone-cold idiot would choose any time other than the present. On average, humans are by orders of magnitude healthier, wealthier, nicer, happier, longer lived, more free and better educated than ever before. Moreover, as Bill and Ted’s Excellent Adventure noted: ‘Bowling averages are way up, minigolf scores are way down, and we have more excellent waterslides than any other planet we communicate with.’ Some of the many graphs in this book slant from the bottom left towards the top right, showing the rise of Good Things, and some of them (charting the decline of Bad Things) go the other way.
‘Keep my name out of it’, was the fairly standard reply when Matthew Sweet started researching the story of the GIs who deserted from Vietnam. People’s concern, it turned out, however, was not about being associated just with desertion, but with a more complex story of duplicity, abuse and insanity. Over time, the American Deserters Committee (ADC), the welfare group established to support the deserters in neutral Sweden, developed into a series of increasingly militant organisations. These were then infiltrated by the CIA. Sweet tracks the changing nature of desertion ‘from an individual act of conscience or cowardice to a political step that GIs could take together’.
Stephen Bernard has led an institutionalised life. Behind the doors of the church presbytery, at public school, on hospital wards after repeated suicide attempts, in therapists’ offices, at Oxford University — he has sought protection and cure. Some institutions woefully failed, while others revived Bernard from the appalling child abuse inflicted by Canon T.D. Fogarty, Latin teacher, priest and rapist. An account of the open wounds left by years of assault, Paper Cuts is also a memoir about the anxiety of seeking to belong, yet as a survivor never quite finding a part. We follow Bernard for a day, now aged 40 and an Academic Visitor at Oxford’s Faculty of English. He has a looming deadline to finish an article for the TLS.
‘We have it in our power to begin the world over again.’ Ronald Reagan made this most unconservative of lines a leitmotif of his 1980 presidential campaign, knowing its radicalism would highlight his energy, personal optimism and desire for change. As it duly did. The astonishing power over words of its author, Thomas Paine, persists to this day. In a letter of 1805, the former president John Adams said of Paine that there can be no severer satyr on the age. For such a mongrel between pig and puppy, begotten by a wild boar on a bitch wolf, never before in any age of the world was suffered by the poltroonery of mankind, to run through such a career of mischief.
On 20 July 1805, just three months before the battle of Trafalgar destroyed a combined French and Spanish fleet, the Emperor Napoleon ordered his chief-of-staff to ‘embark everything’ for the invasion of England that he had been dreaming of for two years. ‘My intention is to land at four different points,’ he explained to Berthier, ‘at a short distance from one another... Inform the four marshals there is not an instant to be lost.’ While there is possibly no saga in his whole astonishing career — Russia included — that so vividly exposes the curious and almost wilful blind spots in Bonaparte’s make-up, his enemies would have done well to pay closer attention.
At a press conference in October 1981, Ronald Reagan quoted Ibn Khaldun (1332–1406) in support of what is known as supply-side economics. Although the 14th- century politician and thinker wrote extensively about economics and was almost unique among medieval Arab writers in so doing, it is quite ‘marvellous’ writes Robert Irwin, the author of a new intellectual biography of this famous North African, that he ‘should have anticipated American Republican party fiscal policy’.
Alastair Campbell is a man of many parts. Journalist, spin doctor extraordinaire, diarist and now novelist. For this, his third novel, he has teamed up with the former professional footballer Paul Fletcher to produce a very readable thriller. The division of labour seems to be that Campbell has done most of the writing while Fletcher has supplied behind-the-scenes colour. The late Martin McGuinness is among those credited with having advised. It is set in February 1974, around the general election that brought Harold Wilson back to power and also the year when the IRA’s mainland bombing campaign reached its height.
This remorselessly slow-moving, hazily allegorical drama about ageing and xenophobia is Jim Crace’s 12th book, and the first to appear since he announced his retirement from writing in 2013. Like much of his other work, it lays its scene in a topographical and temporal bubble of the author’s own devising, where recognisable aspects of society and geography are almost imperceptibly twisted away from true.