Book review

Black Rock White City (Melville House, £16.99) is ostensibly about a spate of sinister graffiti in a Melbourne hospital. ‘The Trojan Flea’ is scrawled across X-ray screens; ‘I am so full of your death I can now only breathe your rot’ on a stairwell; and, on a dead body, ‘cut into the flesh with a scalpel, from throat to navel, is the word INSPIRATION’. A.S. Patric grabs his reader’s attention with the riddle of ‘Dr Graffito’s’ identity, while a more subtle mystery unfurls alongside. Jovan, the hospital cleaner — whose job it is to remove the offensive graffiti — has come to Melbourne from Sarajevo, where he was a teacher and ‘used to wake in the mornings with poetry emerging in rhapsodies’.

Who would want to read a whole book about a teenage boy’s gap year? When most 18-year-olds take time off before university, they either head for Thailand to experience middle-class Western culture in warmer climes with more drugs, or spend six months shelf-stacking and six months ‘finding themselves’ at a Ugandan orphanage. A tedious evening in the pub during freshers’ week when all the gap year students bore one another into submission about how much better Mexico made them is normally enough. Leif Bersweden thought so much of his year off, though, that he wrote 360 pages about it.

How do you like your ghosts? Supernatural fiction is arguably the hardest to get right. Ideally it should terrify, but what appals A might bore B and merely confuse C. The mechanics of apparition, however fanciful, must be internally consistent, and explanations kept simple. M.R. James excelled at giving his spectres agency and focus, but in some hands ambiguity is more effective. Read a Robert Aickman and half the time you have no idea what happened, if indeed anything did. I was once put off by a description in a novel of a ghost drifting round a house at night and contemplating its sleeping inhabitants. While that might give you the willies, for me that violates an essential requirement for manifestation: that it involve interplay between deceased and living consciousness.

The title of this book, By the Pen and What They Write, is a quotation from the Qur’an and comes from the opening of the ‘Surah al-Qalam’ (Chapter of the Pen), in which the authority of the cosmic scribes in heaven, whose writing determines the fate of humanity, is invoked in order to authenticate the revelation that follows. According to Islamic tradition, the Prophet Muhammad was illiterate (and so presumably were most of his audience). So it is odd to find writing featuring so prominently in this surah and throughout the Qur’an.

If someone was to lob the name Antigone about, many of us would smile and nod while trying to remember if this is the one about the guy who shagged his mum or the parent who offed their kids. (Bit of both.) For those whose Sophocles is hazy, let me summarise. After a civil war in Thebes that sees two brothers, Eteocles and Polyneices, dead, the new king Creon rules that Eteocles is to be buried with honour, while Polyneices will be left outside the city gates to rot. Their sisters, Ismene and Antigone, have different views. Ismene — concerned that their social position is a bit shaky, given a family history of incest and rebellion — obeys Creon.

Hidden behind Kensington Palace, in one of London’s smartest streets, there is a grand old house which played a leading role in Britain’s victory over Nazi Germany. Today it’s owned by Roman Abramovich, apparently — it seems he paid £90 million for it. But during the second world war, and for a few years thereafter, 8 Kensington Palace Gardens was a secret interrogation centre known as the London Cage. This is where suspected spies (and, later, suspected war criminals) were broken down. Between 1940 and 1948, thousands of German servicemen passed through here, on their way to POW camps (if they were deemed innocent) or prison (if they were guilty).