Covid

In this clever, moving mosaic of a book, Sara Baume tells us she originally wanted to be an art critic and that she wrote exhibition catalogue copy. It has served her well, as Opening Night is an evolved form of that genre – including 39 excellently reproduced images of paintings by the subject, and one extra – but it is also a form of memoir. By that I do not mean ‘life writing’ or ‘autofiction’, as it is a work of remembering and memorialising, even if that involves recording the gaps and lapses. The lacunae operate like an undercoat: the occluded thing that changes how you see. Just before the pandemic, Baume states in the opening sentence: ‘I met Mollie’s paintings before I met Mollie.

Near the beginning of Ben Lerner’s new novel the unnamed narrator recalls visiting an exhibition of botanical models made by the father-and-son glass artists Leopold and Rudolf Blashka in Dresden in the 19th century. Like Zeuxis’s grapes, so lifelike that birds would come and peck at them, the models, ‘impossibly delicate things’, challenge the narrator’s sense of the real: I kept seeing the flowers as organic one instant and as artificial the next, a kind of duck/rabbit effect, not between things the object might represent but between nature and culture, the given and the constructed. Transcription, like Lerner’s previous three novels, is an autofiction about the tension between the given and the constructed. It is arranged in three acts.

Many of Jay McInerney’s characters had their glory days in the 1980s and 1990s of his vivid early novels, with all of the excesses and freedoms that he captured, most famously in his 1984 debut Bright Lights, Big City. As familiar as New York’s landmarks and favourite haunts remain, the city of 2020 can seem a bewildering landscape for his creations, even before the darkened lights of the pandemic. The Calloways are the literary ‘It couple’ about whom McInerney first wrote in the elegiac Brightness Falls (1992). Now, in See You on the Other Side, friends and acquaintances get hit by #MeToo with the kind of randomness reserved for corked wine or a careless investment.

It is a curious literary form, the published diary. A surprising number of the classic diarists did write for eventual, usually posthumous, publication – Chips Channon under a 60-year embargo, A.C. Benson, Samuel Butler, in his wonderful notebooks, and surely the possibility was in the minds of Samuel Pepys and the Duc de Saint-Simon. More recently, great diaries have been published within the author’s lifetime. James Lees-Milne’s first instalment came out 30 years after the period it described. Alan Clark’s initial offering, covering 1983-92, appeared in 1993. Tony Benn’s hilariously tedious volumes emerged on a rolling programme which slowly caught up with the events they described.

The West gets China wrong. Spectator readers know the country as a vampire state feasting on foreign intellectual property and spewing out phony economic data in its thirst for wealth and power. It certainly is these things – but it also isn’t. It is more complex, and telling only half the story is ultimately self-defeating. While there is plenty to appal us about modern China, there is also much that we can learn from it. In Breakneck, Dan Wang reveals both sides of the ledger. ‘Too many outsiders see only the enrichment or the repression,’ he complains. His ‘big idea’ is that China is an engineering state, building at breakneck speed, whereas the United States is a ‘lawyerly society’ that has forgotten how to get stuff done.

Language, it has been said, is the only true democracy – changed by the people that use it. But as with any democracy, there is plenty of disagreement about what alterations are either possible or permissible. Japanese uses three distinct writing systems – kanji, hiragana and katakana – and the relationship between two of them, kanji and katakana, is a key theme of last year’s prizewinning speculative fiction Sympathy Tower Tokyo by Rie Qudan – a lyrical, witty, satirical but meditative and meticulous text, now published in Jesse Kirkwood’s vibrant and faithful English translation. We are in the sprawling metropolis of Tokyo in the lightly altered mid-2020s.