Fiction

The novelist Elizabeth Jane Howard died yesterday at the age of 90. She is most famous for the series of 14 Cazelet novels; the last of which, All Change, was published last autumn. Here is a snippet from Nicola Shulman’s review of the book: ‘If there is anything in publishing to melt the realities of book reviewing into this delicious scene it’s the prospect of a new Cazalet novel. Not only do I get to read it in plain sight, but the 19-year break since the last one necessitates a re-read of the whole lot. Days and days, that means, immersed in the lives of that many-petalled flower of the home counties, the Cazalet family.

‘She wrote fiction?’ Even today, with the admirable ladies at Virago nearly finished reissuing her dozen novels, Elizabeth Taylor remains mostly unknown except to fellow novelists, literary journalists, worthier publishing types, and a handful of dedicated readers. Even Nicola Beauman felt obliged to call her wonderful 2009 biography The Other Elizabeth Taylor so as to avoid confusion with the overrated actress whose debut film, National Velvet, was released only a few months prior to the publication of Taylor’s first novel. It cannot help her reputation that she had a majority of her papers burned, produced no journalism and kept her distance from literary London, writing only to friends such as Ivy Compton-Burnett and Barbara Pym, kindred spirits of sorts.

Cig 1 Auld Reekie . . . Edinburgh . . . brewers’ town, stinking of beer, whisky, tweeness, gentility, hypocrisy, corruption . . . DS Rebus awoke with a start, his hand still clutching a can of lager. He’d been asleep in his chair, as usual. He rarely went to bed. Bed was for sober people. The phone was still ringing, so stumbling over LP sleeves, full ashtrays and empty bottles, he picked up the receiver, greasy from last night’s fry-up. ‘It’s Siobhan,’ his colleague DI Clarke announced herself. ‘A new case has popped up.’ Rebus massaged his brow with an Irn-Bru can and grunted. ‘An old case, I mean,’ Siobhan corrected herself. ‘Thirty years old.

Charles Palliser’s debut novel The Quincunx appeared as far back as 1989. Lavish and labyrinthine, this shifted nigh on a million copies, while more or less inaugurating the genre of ‘neo-Victorian literature’, whose ornaments are still clogging up the bookshop shelves a quarter of a century later. There have been three other novels since, at least one of them set in the here- and-now, but Palliser’s fifth outing straightaway returns us to the world of creaking lawsuits, high-grade subterfuge and lickerish kitchen-maids in which he made his reputation. In fact the territory occupied by Rustication is so familiar as to make the case-hardened reader of A.S.

For as long as I can remember — I take neither pleasure nor pride in the admission — I have been one of those people who feels an irresistible curling of the lip at reviews of the ‘I laughed till I cried’ variety. Something about that hackneyed claim, invariably trumpeted in bold letters outside West End theatres, inspires absolute scepticism. No longer. At two memorable moments in Jeeves and the Wedding Bells I did indeed laugh until I cried. To readers unfamiliar with his role as a team captain on Radio 4’s The Write Stuff, the literary quiz which culminates each week with a pastiche of an author’s style, Sebastian Faulks, still best known for his novels Birdsong and Charlotte Gray, may appear an unlikely candidate for donning the mantle of P.G.

If you are going to read a novel that plays with literary conventions you want it written with aplomb. In Three Brothers we are not disappointed, as Peter Ackroyd shows a deftness of touch that comes from being a real master. Here his theme is families. Or rather, it is London. Or rather, it is the use of coincidence as a plot device. In fact it is all three, but perhaps the most important is coincidence. As a literary device, coincidence is the presence of the author in the novel acting like an ancient Greek god directing events. This is apparent from the start when, in almost fairytale fashion, Ackroyd tells us that the brothers of the title, Harry, Daniel and Sam, were all born on 8 May, but each a year apart, in the 1950s.