Paris

In October 2018, Andrew Hussey, the convivial and courageous observer and analyst of the political and social travails of modern France, was cycling back to his office after lunch through the rather staid and un-bohemian environs of the Boulevard Raspail on the Left Bank in Paris. To the ‘middle-aged man who already has a heart condition’, the scene into which he pedalled near the Montparnasse cemetery was terrifying, but to the veteran historian of the fractious Fifth Republic not particularly unusual. Parisians were sitting on café terraces and queuing for ice cream while just around the corner ‘a mini-civil war’ was taking place.

Girl, 1983, a fusion of novel and memoir, tantalises with what we already know of its author. Linn Ullmann is the daughter of the Norwegian actress Liv Ullmann and the much older Swedish film director Ingmar Bergman. Their relationship was probed in her previous work, Unquiet. Here the parents are more distant figures, as the adult Linn attempts to reconstruct her headstrong 16-year-old self and recover a disturbing interlude spent in Paris as a would-be model. In 2019, Ullmann is struggling to write when her younger self materialises like an imaginary friend with a message that demands to be heard. Ullmann has a daughter now, which makes the quest to understand the events of decades ago all the more urgent.

There are, broadly speaking, two types of artist: the explorer and the miner. The explorer keeps moving on, staking out new aesthetic or thematic terrain, while the miner keeps returning, digging deeper into the same earth each time. Patrick Modiano, the French Nobel prizewinner for literature in 2014, is an artist firmly of the second camp. Ballerina may be Modiano’s 32nd novel, but it feels more like the latest haunting chapter of the one long book that makes up his career. Blending noir, elegy, Paris and an obsession with memory, Modiano writes like Proust conducting a police line-up.

Maeve Brennan (1917-93) was a supremely gifted Irish/American writer, whose work is periodically rediscovered, only to vanish again. It’s as if her literary reputation (she has been compared with Joyce, Flaubert and Chekhov among others) won’t stay fixed and is as homeless as she herself became. Arriving home to Dublin, Anastasia expects a warm welcome – only to be steadily spurned by her grandmother Aged 32, she secured a job at the New Yorker, contributing sardonic observations of city life as well as wry, melancholy short stories, part-fiction, part-memoir. The Visitor, her only novella, written in her late twenties when she was working as a journalist in Manhattan, remained unpublished in her lifetime.

On Friday 13 November 2015 France suffered the deadliest terrorist attack in its history. In quick succession, gunmen and suicide bombers struck the outer concourse of Paris’s Stade de France; then the pretty canal-side cafés and restaurants of the tenth arrondissement; then, most notoriously, the Bataclan theatre, where the doors were blocked and, over the course of an hour, 90 people massacred. The subsequent trial was not just a gargantuan administrative undertaking (20 defendants faced around 2,000 plaintiffs, and the proceedings occupied the purpose-built courtroom for the best part of a year); it was a cultural phenomenon.

In September 1940 the Dutch abstract artist Piet Mondrian arrived in New York, a refugee from war and the London Blitz. He was 68, a well known figure in modern art circles in Europe but as yet little appreciated on the other side of the Atlantic. His visas, his travel and his accommodation had been sorted out for him by well-wishers in Britain and he was welcomed in America by Harry Holtzman, an artist some 40 years his junior. On the evening of his arrival, Holtzman entertained the stiff, fastidious, well-dressed Mondrian to dinner in his apartment and introduced him, via the phonograph, to boogie-woogie. He recalled: Mondrian’s response was immediate, he clapped his hands together with obvious pleasure. He sat in complete absorption to the music, saying, ‘Enormous! Enormous!

‘Biffy’ Dunderdale (1899-1991) was a legend in his own lifetime within MI6. Born in Odessa to an Austrian countess and a British trader representing Vickers, his cosmopolitan upbringing endowed him with English, Russian, German, Turkish, French and Polish. His real first name was Wilfred, Biffy being acquired through youthful handiness with his fists. Biffy played an important role in smuggling the Polish copy of the Enigma cipher machine to London Education and family connections made him intimate with prominent Levantine trading families such as the Whittalls, Keuns and La Fontaines. Members of each served with him in MI6 and two into modern times.

Two books in one: you flip it over, and it becomes the other. A Winter in Zürau is about Franz Kafka’s stay in a small Bohemian village with his sister Ottla after being diagnosed with tuberculosis. Or, as Gabriel Josipovici arrestingly puts it in the preface: ‘One day in the summer of 1917 the writer Franz Kafka woke up to find his mouth full of blood.’ (The echo of the opening line of Metamorphosis is surely deliberate.) Here, in isolation, he recuperated, or tried to. He wrote to Max Brod: ‘I’m not writing. What’s more, my will is not directed towards writing. If I could save myself... by digging holes, I would dig holes.’ Josipovici quotes this, and adds that there is a photograph of Samuel Beckett ‘doing just that’ in the second volume of his Collected Letters.