Germany

The reason Peter Watson gives for writing this long intellectual history of Germany since 1750 is a convincing one: that British obsession with Nazism has blinded many British people to the achievements of German culture. Watson describes the complaints of German commentators about the emphasis on Nazism even in British schooling, which were borne out by the 2005 report of the Qualification and Curriculum Authority: ‘There has been a gradual narrowing and “Hitlerisation” of post-1914 history.’ Watson also discusses the importance of Nazism to America, and his most intriguing point is that interest in the Holocaust is a comparatively recent phenomenon. A study in the 1950s found that the effect of the Holocaust on American Jews was ‘remarkably slight’.

D. B. C. Pierre’s Vernon God Little was an unusual Man Booker winner (2003). D. B. C. Pierre’s Vernon God Little was an unusual Man Booker winner (2003). Not only was it brilliant, it was also a first novel, and apparently by an American. Holden Caulfield was invoked, and Liam McIlvanney called it ‘the most vital slice of American vernacular since Huck Finn’. It turned out, though, to have been written by a Brit, ‘on the floor of a box-room in Balham’. D. B. C. Pierre is the nom de plume of Peter Finlay, an evolved childhood nickname — ‘Dirty But Clean’, which is evidently his motto as a writer. Foully satirical, he is also sweetly allegorical.

John Buchan’s Greenmantle remains a marvellous read, even if its plot is absurd. John Buchan’s Greenmantle remains a marvellous read, even if its plot is absurd. Who could credit a story about German attempts, headed by the unlovely Kaiser Wilhelm and the glamorous and suitably ruthless Hilda von Einem, to stir up a world-wide Muslim holy war against the Allies during the first world war and ultimately build a vast German empire stretching to India itself? Now Sean McMeekin shows that fiction, after all, was not so far from the truth, and he makes the most of what is a very good story. He starts in the late 19th century with the construction of the Berlin to Baghdad railway.

The Ninth is not necessarily Beethoven’s greatest symphony. The Ninth is not necessarily Beethoven’s greatest symphony. That honour is surely shared by the Eroica, in which the composer changed the course of orchestral writing after two prentice works (and what works they were!), and the Seventh. Beethoven’s last symphony, known in the English-speaking world as the ‘Choral’, for its unprecedented use of the human voice, is magnificent but flawed. The meditative slow movement may be the greatest Beethoven ever wrote, but the joy that Beethoven strove for in the finale finds finer musical and dramatic expression in the hymn to liberty that closes Fidelio. If it is not his greatest symphony it is certainly the one that has cast the longest shadows.

In mentioning Heinrich the Fowler, 10th-century King of the Germans and one of the many obscure figures who appears in his book, Simon Winder describes a painting in the Hall of Electors in Frankfurt. A product of the historicising 19th century, it is part of a series of German monarchs stretching from Charlemagne to 1806, the first seven centuries of which are ‘simply fantasy’.