Book review

The greatest of Bach’s 224 cantatas is BWV 109, ‘Ich glaube, lieber Herr, hilf meinem Unglauben’. Its subject — the title translates as Mark 9:24, ‘I believe, dear Lord, help my unbelief’ — is that strange cognitive dissonance of believing something yet not believing it at the same time. Daniel Dennett’s new book, From Bacteria to Bach and Back, is aimed at those who suffer from this intermittent unbelief, though not about God — Dennett is, after all, one of modern philosophy’s most prominent atheists — but about his specialist subject: evolution by natural selection. Of course, most educated people nowadays accept Darwin’s great insight.

Like his Pulitzer Prize-winning first novel, The Sympathisers, the stories in Viet Thanh Nguyen’s The Refugees are set largely among the Vietnamese diaspora on the west coast of America, where Nguyen himself lives, having fled to the US from Vietnam with his family in 1975. They mostly feature characters juggling the lives they’ve made in their adopted culture with their memories of — and loyalties to — the old land. In one story, set in the Reagan era, a penny-pinching woman who runs her family’s New Saigon grocery store is reluctantly moved to donate money to the futile guerrilla war against communism back in Vietnam.

On the Whitsun weekend of 1935 an art student called Denton Welch was knocked off his bicycle by a car and suffered catastrophic injuries, including a fractured spine. Although he made a remarkable partial recovery, he subsequently endured regular bouts of disabling illness, and would die in 1948 aged only 33. Welch continued to paint after the accident, but also began writing the autobiographical fiction for which he is now best known, publishing his first novel, Maiden Voyage, in 1943. By this time he was living in a chauffeur’s flat over a garage in rural Kent.

Rogues’ Gallery describes itself as a history of art and its dealers, and Philip Hook, who has worked at the top of Sotheby’s for decades, is well versed in his subject. Sadly for the prurient, this is not an exposé of the excesses of the market from one of its high priests; and Hook says that where possible he has avoided writing about the living. It is hard not to feel a bit disappointed. For an alarming moment in the introduction, it seemed as if he was preparing to write an academic treatise about how dealers influence art and taste.

This book kept reminding me of Robin Williams in One Hour Photo. Just as his character spied on customers’ private lives while developing their pictures, so Chris Paling gets to know the readers at the library where he works. Unlike Williams he doesn’t follow them home at the end of the day (in fact some of the female librarians have the opposite problem), but Paling’s anonymous, functional role lets him observe without being observed. He sees the woman with two small children who takes out Is Daddy Coming Back in a Minute?, explaining sudden death to children in words they can understand. The ‘effete, shaven-headed man in a well-cut suit’ who angrily discusses his new shrink on his mobile phone.

Christopher de Bellaigue, a journalist who has spent much of his working life in the Middle East, has grown tired of people throwing up their hands in horror at Isis, Erdogan and Islamic terror, and declaring that the region is backward and in need of a thorough western-style reformation. As he argues in this timely book, the Islamic world has been coming to terms with modernity in its own often turbulent way for more than two centuries. And we’d better understand it, because it’s an interesting story, and often a positive one — the way vast crowds streamed onto the streets of Cairo, Istanbul and Tehran in demonstrations against authoritarian rule over the past decade, for example. Western-style participatory democracy remains the dream of the man and woman in the souk.