Books

The St. Brice’s Day Massacre? I must admit I hadn’t heard of this “most just extermination” of Danes in Oxford at the instigation of King Aethelred the Unready in 1002, perhaps because the teaching of history in Britain tends to kick off in 1066. You certainly don’t think of Oxford as a place that pioneered techniques of ethnic cleansing. Crypt is a collection of seven essays that unearth details about how certain people lived and died in the past. If you didn’t already know Alice Roberts’s background as an anatomist and biological anthropologist, you’d have a good chance of deducing it from this book.

There really ought to be a word to describe the dispiriting realization that a great writer has slipped through our fingers without the culture at large ever quite appreciating what’s been lost. The novelist Christopher Priest, who died earlier this year of cancer at the age of eighty, was one such figure. It would be glib to describe him as the nearly-man of English fiction, for this wasn’t quite the case — instead his career represented a sequence of missed opportunities for the world beyond his chosen genre to recognize his skill and quiet profundity. In some ways, the early part of his publication history closely resembles that of J.G. Ballard without the mid-career renaissance Ballard enjoyed.

When the journalist Steve Paul began his biography of the writer Evan S. Connell, a young librarian was helping him access research material. She happened across a photograph, and remarked, “What a suave-looking dude.” Connell had movie-star good looks. Of his eight novels, two are now packaged as classics of American literature. This on top of a biography of Goya; a 2009 Man Booker International nomination for lifetime achievement; and a bestselling history of a battle in the Great Sioux War of 1876. Acolytes recommend his greatest book, Mrs. Bridge, with the confident smile that looks forward to welcoming another member to the exclusive band of Connellites.

When you are next visiting a bookstore, and find your way to the children’s section, you might be forgiven for thinking that there is no longer such a thing as a children’s author. Instead, you will be ambushed by piles of books blazoned with the names of actors, singers, comedians, DJs and people who generously exhibit themselves on social media. “Writing” a children’s book has become another string to the celebrity bow. Imagine the scene. You’ve married a prince, and opened a shop that sells vaginal eggs. What more is there to do? A-ha, thinks the celebrity, perhaps while she is sitting on a bench. All those untutored minds, eager for moi! My personal brand will bring them such joy, such self-worth! They will all feel seen!

Green-eyed Gertrude Bell belongs in Charles Doughty’s Travels in Arabia Deserta, that slab of velvety antique that enthralled the English (they were not yet British) in the love-affair phase of their relationship with the Arabs. County Durham-born to a wealthy industrialist father, Bell (1868-1926) was a key player when the Powers tried ineptly to mould the Middle East, as the Ottoman Empire crumbled. She is well covered in the literature and appears in a large hat alongside Churchill in conference photographs. But as Pat Yale announces in this new book: “Her time in Turkey has been largely overlooked.” Bell traveled extensively in that country before the first world war (starting in 1899) and in its aftermath.

George Gissing died just over 120 years ago, marooned in the French Atlantic resort of Saint-Jean-Pied-de-Port and in circumstances that might have been plundered wholesale from one of his notoriously ground-down novels. H.G. Wells, present at the scene, was so affected by his friend’s deathbed ravings that he transferred them word for word into the mouth of Uncle Ponderevo as he lies dying in Tono-Bungay (1909). There are Orwellian shadings: like Gissing, Orwell died at forty-six of lung disease, and was profoundly influenced by his Victorian forebear. It was Anthony Powell who remarked of Orwell’s third novel, Keep the Aspidistra Flying (1936) that “the Gissing had to stop.

I visited Sicily in May 2005, when the airlines were still requiring all checked luggage to be left unlocked. After the flight from Paris touched down at Palermo, my wife and I went to collect our luggage at an apparently quiet and unrushed airport to discover my suitcase opened partway and an expensive dressing gown missing. Eighteen years ago, il Commissario Salvatore Montalbano was quite unknown to me. Otherwise, I should have immediately thought of the Sinagra family at the eastern end of the island, though the word “mafia” did come to mind as I rezipped the bag.

Call it a gift from the book gods: my literary coming of age coincided with the last decade when the existence of good bookstores could be taken for granted. In the mid-1990s, when I was an adolescent who read every new novel by Updike, Roth and Vonnegut, Amazon was still a novelty. Chain bookstores, such as B. Dalton and Waldenbooks, were as ubiquitous in shopping malls as food courts, cheap jewelers and eyewear vendors. And growing up in a suburb of New Orleans, I also had access to an astonishing number of antiquarian bookstores, including what is still officially my favorite bookstore: Faulkner House Books, the teeny-tiny bottom level of a townhouse in the French Quarter in which William Faulkner set down on paper what became his first novel, Soldier’s Pay.

Great books make genres jump. It happened with W.G. Sebald’s The Rings of Saturn, which looked like a travelogue, claimed to be a novel and felt like neither. Albert and the Whale by Philip Hoare, which recalls and converses with Sebald, is such a work. An antic and original creation, it is not exactly a biography of the revolutionary Renaissance printmaker, painter and theorist of geometry and perspective. For the fuller story of Albrecht Dürer, turn to Erwin Panofsky’s mighty monograph, as Hoare does frequently. Instead, Hoare has made a book as much for Dürer as it is about him. Dürer’s life and art are thrillingly encountered.

Andrew Roberts America’s Collection: The Art and Architecture of the Diplomatic Reception Rooms at the US Department of State (Rizzoli, $100) is beautifully written by the director and curator of the State Department’s truly extraordinary collection, Virginia B. Hart. It is a sumptuous volume chronicling the US government’s huge collection of American art, furniture, porcelain, maps, prints and drawings, compiled over a quarter of a millennium. Thirteen other writers and experts, including David M. Rubenstein, have also contributed to what is a genuinely remarkable as well as gorgeous-looking book. James B.

In the summer of 1955, an unusual meeting took place. Billy Graham visited the writer and academic C.S. Lewis in Lewis’s rooms at Magdalene College, Cambridge. It was unusual because leading British academics typically avoided Southern Baptist revivalists. But rather than encountering a fussy, prim don, Graham found a kind, intelligent scholar who was very happy to spend the afternoon with him. Later, Graham admitted he was intimidated by Lewis, but the English professor quickly dispelled any anxiety, probably by offering Graham a cup of tea. Graham’s impact on American religious culture, for good or ill, is unquestioned, but it is difficult to imagine what that same culture would look like without the works of C.S. Lewis.

Like his creator J.K. Rowling, Harry Potter says unspeakable things. He teases his cousin Dudley, the prince of his aunt’s suburban kingdom. He calls the Dark Lord Voldemort by his name. He even speaks to snakes. In other words, if Potter were a real person, he’d likely write a Substack, present a podcast and empathize with his creator’s recent public controversies. You are probably familiar with Rowling’s protests against trans activists’ demands to use women’s restrooms.

In Elsewhere, a coruscating memoir published in 2012, Richard Russo described his formative years as “an American childhood, as lived in the late Fifties, by a lower-middle class that barely seems to exist any more.” The setting for this slice of lost Eisenhower-era Americana was Gloversville in upstate New York, an East Coast leather town where the money had long since moved out and taken the locale’s animating spirit with it, to the point where the eighteen-year-old high-school graduate reckoned that “you could have strafed Main Street with an automatic weapon without endangering a soul.” The “Main Street” reference carries its own freight of associative cargo.

In 2011, a terminally ill Christopher Hitchens faced death with droll stoicism: “To the dumb question ‘Why me?’ the cosmos barely bothers to return the reply: ‘Why not?’” he wrote. As his health declined and the end drew nearer, the skeptical Hitchens stuck to his atheist guns, clear-eyed in his confidence that death was final. Hitchens died in 2011, but his work and reputation live on. No paradox there, of course, but just how large Hitchens looms twelve years after his death would surely have surprised even this immodest author. It’s certainly a surprise to me, a reformed Hitchens fanboy. The face of twenty-first-century atheism is having quite the afterlife.