Philanthropy

Money can’t buy you love, the Beatles sang. But that doesn’t matter so much if you’re not interested in love, like Brooke Orr, the 33-year-old heroine of Rumaan Alam’s fourth novel, Entitlement. In contrast to Alam’s wildly successful, lockdown-resonant Leave the World Behind, the latest book is set in 2014, during the era of ‘Obama’s Placid America’, a world depicted as a virtually frictionless pre-Trump utopia in which ‘black, gorgeous, serious, passionate’ young women such as Brooke can thrive. When she leaves her teaching job and joins the charitable Asher and Carol Jaffee Foundation – started after the benign octogenarian billionaire Asher Jaffee lost his daughter – she realises that money is where her heart lies.

Classical music plays hell with people’s posthumous reputations, as any admirer of the works of Ralph Vaughan Williams will tell you. In 1972, on the centenary of his birth, ample respects were shown. Not only were there special concerts of his music but the Post Office, which is now more focused on commemorating gay pride, issued a stamp. Since the composer’s death in 1958 he and his works had gone into an eclipse, not least because of the atonalists who controlled the Third Programme and many of our concert halls. These were people who believed the British music-loving public should be fed on a diet of what Kathleen Ferrier called ‘three farts and a raspberry, orchestrated’. The eclipse resumed after 1972.

In that dark world the air pulsed with the melancholy clangour of bells. If, as legend has it, the chimes of St Mary-le-Bow told Dick Whittington to turn again, then what were they saying to all the other medieval Londoners, dwelling in houses so crowded on fouled streets that the sun could not break through? In the shadow of implacable plague, even London’s super rich were piercingly aware of life’s fragility. Their homes were scented with lily, lavender and the smoke of applewood. They had to be. The city was a close maze of abattoirs and tanneries and streams sluggish with excrement. Yet here, too, were brightly ornamented religious houses and gardens rich with symbolism and medicinal herbs.

Who would imagine that Johann Zoffany’s celebrated 1780 depiction of the extensive Sharp family happily making music on their pleasure barge could be parsed so deftly into a portrait of an age? Or that Hester Grant, embarking upon her research, could have foreseen how topical Granville Sharp’s determined champaign against slavery would seem at the present moment? Or that his surgeon brother William’s new-fangled passion for ‘variolation’ or vaccination (against smallpox in those days) should strike such a chord today?

What does Jony Ive, the designer of Apple’s iPhone, have in common with Peter Perez Burdett, the first Englishman to produce aquatints, and Ann Williams, a postmistress who bred silkworms at her home in 18th-century Gravesend? The answer is that they all received awards from the institution known today as the Royal Society of Arts. Ive bagged a £500 travel bursary for creating a futuristic telephone nicknamed the Orator; Burdett earned £100 for a detailed map of Derbyshire; and Williams collected a 20-guinea prize for her observations about the lepidoptera she mistakenly called ‘dear little innocent reptiles’. As Anton Howes demonstrates in this lucid and scrupulously researched history, such bounty is the raison d’être of the RSA.