Culture

Twins are literary dynamite. For writers, they’re perfect for thrashing out notions of free will, the pinballing of cause and effect and fate’s arbitrariness. One twin reflects the other, darkly: living proof of the road not taken, the life not lived. In Maryse Condé’s The Wondrous and Tragic Life of Ivan and Ivana this point is rather laboured — literally, as we first meet the titular pair when they are dragged from the ‘warm and tranquil abode’ of their mother’s womb. They emerge bawling into contemporary Guadeloupe, where their mother Simone ‘works herself to the bone in the sugarcane fields’. Things don’t improve much when they seek their fortunes abroad, first in Mali, then in France.

‘Grief is the price we pay for love,’ the Queen once wrote. This memoir is steeped in the pain of unpaid debt. ‘When you were nine, you had a pink coat that you loved so much you wore it all the time, even on the early morning flight to Tunisia,’ Gavanndra Hodge begins, talking to her younger sister Candy, who’s been dead for 30 years. ‘It was long and thickly padded and made you look like a flamboyant Michelin Man.’ Hours after that flight Candy is killed by a virus as inexplicable as the one currently causing hundreds of thousands deaths, and Hodge stares into her coffin, noting the strange softness that comes just before decay.

The Mayflower’s journey did not simply end with landfall at Plymouth Rock, if indeed it ever arrived there in the first place — John Turner points out that no mention was made of the rock for 150 years after the Pilgrims disembarked; but the little ship has continued its voyage into mythology ever since. At the end of The Great Gatsby, Scott Fitzgerald writes of that ‘transitory enchanted moment’ when human beings came face to face with something commensurate with their capacity for wonder. The Pilgrims gave substance and longevity to that transitory vision when they set up their community in the wilderness.

Viewed from a purely private garden perspective, this has been a ver mirabilis. The blossom has been wonderful and long-lasting, the sun has shone on the daffodils and tulips, and there has been enough moisture in the ground for impressive growth in trees, shrubs and vegetables. Thanks to lockdown and all its confinements, I have enjoyed an intensity of engagement with my garden I’ve rarely experienced since the days when I was a young, mustard-keen apprentice gardener. I feel as if I have watched every leaf unfurl, every flower open, every bird swoop across the lawn. Spring gardening, with its pleasant, mindful monotony of pricking out seedlings and pulling up speedwell, has soothed my nerves, consoled my sadness, calmed my fears, and brought a welcome sense of proportion.

Strolling through Whitehall Palace in the early years of the Restoration, Samuel Pepys was thrilled to spy a washing line displaying ‘the finest smocks and linen petticoats of my Lady Castlemaine’s… and did me good to look upon them’. The owner of the glamorous undergarments was Barbara Villiers, the first of the many maîtresses-en-titre of King Charles II who form the subject of this incisive new study. Linda Porter’s eye for detail is no less acute (though certainly less creepy) than Pepys’s.

Hot on the heels of The Stranger, the Netflix series based on his novel but transplanted to the UK, Harlan Coben returns with his 32nd book. Some of us have been getting our regular dose ever since he introduced his sports agent sleuth Myron Bolitar in the mid-1990s, and The Boy from the Woods (Century, £20) contains all the usual ingredients. For those new to Coben it has the virtues of The Stranger — addictive and full of twists, with an intriguing premise. It also has its deficiencies: too many subplots, a tendency to drop promising strands of the story when something else comes along, and characters whose motives are often unclear and whose behaviour is downright far-fetched.