Interview

For better or worse, we live in the age of the talking composer. Some talk well, some badly, a few — the strong, silent types — keep their mouths shut, or have to have them prised open. Harrison Birtwistle belongs, by nature, to this last category. I once, a very long time ago, interviewed him for a radio programme, mercifully pre-recorded. Each tedious enquiry would be greeted by a long silence ending with a yes or a no or an ‘I don’t understand the question.’ Nothing would persuade him to contribute to my attempts at fitting him into some preconceived image of British music in the late 1960s. Fitting them in is of course precisely what talking to composers is supposed to do. Harry quietly — very quietly — declined to cooperate.

Roddy Doyle was born in Dublin in 1958. He first came to prominence with his debut novel The Commitments, which he self-published in Ireland in 1987. The book was then published in the UK in 1988 by William Heinemann. The two books which followed, The Snapper (1990) and The Van (1991), completed his Barrytown Trilogy. All three books were subsequently made into extremely successful films. In 1993 Doyle won the Booker Prize for his novel Paddy Clarke Ha Ha Ha. The book was praised for Doyle’s ability to write convincingly in the idiom of his main protagonist, Paddy Clarke: a ten-year-old boy residing in Dublin in the 1960s. Doyle’s popularity has continued to soar.

In his new book The Silence of Animals, the philosopher John Gray explores why human beings continue to use myth to give purpose to their lives. Drawing from the material of writers such as J.G. Ballard, Joseph Conrad, Ford Madox Ford, John Ashbery, Wallace Stevens and others, Gray looks at how we can reinvent meaning in our lives through a variety of myths and different moments in history. Gray refutes that humanity is marching forward to progress, where utopian ideals of civilisation and enlightenment are the end goals. He sees human beings as incapable of moving beyond their primordial, animalistic, selfish instincts, particularly when factors beyond their control make them more fearful.

David Mitchell slaps a big hand on his head. ‘I look back at that kid and think, what were you thinking! How dare you, idiot!’ He is talking about his recklessness as a young writer. ‘Yeah I’ll stop it halfway, five times, and start it again. I’ll pretend I’m a Chinese woman living up a mountain.’ He compares it to being a teenager ‘leaping off a 12-foot wall’ without fear. As writers get older, he says, the recklessness subsides, and ‘it needs to be replaced by technique. If you can do that, you’re still in business.’ One of his most madly structured books, Cloud Atlas, has just been made into a film. That’s why we are meeting.

It’s Friday at 10am in a remote field in Fife. John Burnside is taking his morning walk, whilst simultaneously attempting to conduct a conversation with me down a dodgy telephone line. Within seconds he’s speaking about a concept of happiness— or lack of it— that goes back to philosophers such as Nietzsche and Schopenhauer. ‘I’m in the middle of a remote country hill in Scotland, so the reception is not really that good, especially in bad weather like this,’ he tells me, fading in and out of coherence.

‘People begin to feel that… there are bonds of international duty binding all the nations of the earth together.’ This quotation, which resonates so clearly as yet more blood is shed in Syria, belongs to Guiseppe Mazzini, the 19th century Italian nationalist whose vision of a ‘Holy Alliance of peoples’ underscores much of Professor Mark Mazower’s Governing the World: The History of an Idea. Mazower’s book is an account of the ideas and institutions of international relations from the Concert of Vienna in 1814 to the present day United Nations. It is, then, the story of how Western hegemony has shaped the international sphere; this period of hegemony is soon to end and perhaps Mazzini’s international ambitions will die with it.