Nuclear

In 1983, Soviet spies skulked in our midnight streets to check the lights were out. The Kremlin, convinced the West was planning nuclear war, launched Project RYAN, whereby agents watched for signs of impending attack. One was that lights would burn all night in government buildings, as fiendish mandarins drew up the war plans. It didn’t occur to them that lights might indicate nothing more than cleaners on a late shift. Soviet paranoia was such that they saw menace everywhere, and agents, eager to please Moscow, reinforced this fear. ‘The more alarming the reports, the more the agents were congratulated for their diligence.’ RYAN became self-fulfilling.

In the early days of the atomic age, Soviet students debated whether it was nobler to become a physicist or a poet. Some of them seem to have been genuinely torn, and one of those may well have been Anatolii Diatlov, who was the deputy chief engineer at Chernobyl during the late-night turbine test that led to the 1986 explosion. Such was Diatlov’s reverence for verse that he described the great blasts of steam, hot water and machine oil, along with the violent crackling and popping of the inundated electrical system, as ‘a picture worthy of the pen of the great Dante’. The disaster, as Serhii Plokhy shows in his haunting new history, left Ukrainians grasping for similes and allegories. One of Diatlov’s colleagues reached for ‘Hiroshima’.

This is one of the most remarkable, hilarious, jaw-droppingly candid and affecting memoirs I have read for some time — not since, perhaps, Dave Eggers’s A Heartbreaking Work of Staggering Genius or Rupert Thomson’s This Party’s Got to Stop. Patricia Lockwood is a poet — dubbed ‘The Smutty-Metaphor Queen of Lawrence, Kansas’ — who, after unexpected and costly medical bills, was forced to move, with her husband, back to her parents’ home. Her mother is more than mildly neurotic, fretting over things like children jumping out of windows in imitation of Superman.

In 2012, sugar became more dangerous than gunpowder. According to the historian Yuval Noah Harari, of the 56 million people who died that year, 620,000 did so by the hand of their fellow humans: 120,000 in war and 500,000 from crime. By contrast, 1.5 million died from diabetes. Harari’s wry observation adds weight to Steven Pinker’s assertion in The Better Angels of Our Nature (2011) that humans are on a trajectory towards peace and non-violence. But wars in the Middle East, Afghanistan, across the Sahel and Yemen; Russian and Chinese irredentism; nuclear threats from North Korea; Trump’s belligerency, not to mention the asymmetry of terrorism, render urgently relevant the continued study of war. In War: An Enquiry, the philosopher and ethicist A.C.

A teenager in the second decade of the Cold War, my father was taught to play snooker by a KGB agent. His own father was the principal of a theological college in London that had been allowed to accept two foreign students from Russia only if, said the Moscow authorities, a third ‘student’ (notably less ardent in his desire to become a clergyman) was allowed to accompany them. And this is the problem of the world of international espionage: you think it’s going to be all poisoned-tip umbrellas and canasta parties but can wind up in South Norwood studying early church history while making sure Sergey and Dmitry aren’t getting the bus up to Whitehall in the afternoons or swapping briefcases with carnation-wearing strangers at train stations.