Drugs

A photograph from the late 1960s shows a lavishly underdressed Marianne Faithfull sandwiched between Alain Delon, the most beautiful man in the world, and Mick Jagger, the second most beautiful man in the Rolling Stones. The gulf between these two indefatigable tombeurs is not merely sartorial. Delon wears a sharp suit, gun-metal grey, and a black tie. There are the makings of a master/servant dialogue here, for Jagger, far from mondaine, is gauche and scruffy with mismatched socks, no doubt counter-cultural. His picayune mis-demeanour, and his fitting up by bad apples in blue such as Pilcher of the Met, might have been a glitch, but it all turned out cosily parish-pump and, further, a great career move, assisted by William Rees-Mogg’s indignation. No one died in that Sussex cottage.

At 6.58 p.m. on 30 April 2024, Siri Hustvedt’s husband of 43 years, the novelist Paul Auster, died of cancer in the library of their Brooklyn home. He was surrounded by family, including his adored daughter Sophie, who three months earlier had given birth to his first grandson, Miles. Hustvedt and Auster met at a poetry reading in 1981 and married later that year. It was she who proposed to him. Auster, aged 34, was not yet famous and Hustvedt, aged 26, was still a graduate student. By the 1990s, when she too became a novelist, they were New York literary royalty. In the 1970s, Auster had been married to the translator and short story writer Lydia Davis, with whom he had a son called Daniel. If Sophie was a summer’s day, Daniel was darkness.

This story is little more than a brutal anecdote, which Patrick Radden Keefe has chosen to tell at excessive length. It has the kind of fact-checked gravity that indicates a star American journalist bent on perpetrating an entire book. (‘Built in 1923 and originally known as the Empire Stadium, Wembley was the most iconic sporting ground in Britain.’) But it occurred to me more than once as I read it that it has the hallmarks of a particularly black London comedy by Dickens or Ben Jonson or Joe Orton. A violent knave, his activities previously limited to cheating the police, murdering his equally appalling criminal rivals, doing underhand deals and ripping off the rich, acquires an associate.

Film noir was the term coined by the French in the late 1940s to describe the genre of Hollywood crime movies which probed the darkness that lay in the shadows cast by all that bright Californian sunlight. The Beach Boys, who broke through in the early 1960s with a repertoire that hymned, in five-part harmonies, the Golden State’s promise of sun, sand and waves, bronzed bodies, beach-party ‘babes’, hot rods and open highways, were – and remain – the quintessential Californian band. But their story, an unhappy family saga featuring the three Wilson brothers (Brian, Carl and Dennis) and cousin Mike Love, is, like that of California’s itself, as dark as it is light. Their presiding musical genius, Brian, died in June.

I must say, calling a book Fires Which Burned Brightly promises much. At best, from the jaded reviewer’s point of view, an autobiography of delusional self-aggrandisement; at worst, a wild mismatch between the, well, incendiary language of the title and the potentially humdrum contents. It might have been dreamed up by a master satirist intending to inflict maximum damage to the reputation of that noted gentleman of letters, Sebastian Faulks. I once invented a novelist named Julian Sensitive, whose only claim to fame was an autobiographical novel called, after T.S. Eliot’s Prufrock, ‘My Trousers Rolled’. That was a crude joke compared with the hilarity inspired byFaulks’s title.