Culture

Travel writing is ‘the red light district of literature’, as Colin Thubron aptly put it, a space where anything goes. Like punters to the other red light districts, we tend to stick to what we know we like, to our own kind. We travel vicariously with voices that are familiar, or at least intelligible, whose behaviour we can understand, whose narrators we believe we can know. That belief allows them to take us to places we have never seen. How, then, can we follow a foreign author’s account of travelling to, or living in, a place we don’t know? I thought this would be an interesting problem while reading Sanmao’s Stories of the Sahara. Sanmao is not the author’s real name.

The atrocities of the concentration camp at Auschwitz–Birkenau are now universally known, but it is still almost beyond belief that Auschwitz could exist in modern Europe. The history of the camp is a comparatively recent one: construction began in April 1940, less than 80 years ago, and the first victims died there, or were killed, not long after. Some of the people who were transported to the camp managed somehow to survive the war and a few of them are still alive today. Perhaps we shy away from knowing too much about what they suffered because the totality of awfulness is beyond description and the world is still contemplating that.

Midway through Crisis of Conscience, the massive new compendium about US whistleblowers by the journalist Tom Mueller, I wanted to cry out for help: first in saving the country from the profound and corrosive corruption that is so well chronicled in this volume, and then finding a seasoned editor to cut the book down to readable size and scope. Mueller’s reporting and insight about the unusual breed of civic-minded citizen willing to risk his or her career by exposing government fraud and corporate malfeasance are extraordinarily detailed and vivid. But he does himself and his readers a disservice by overloading this work with lengthy disquisitions about behavioural theory and inflated quotations from the interested parties.

A distinctive pattern of horizontal and vertical lines appears in the background of many of Eadweard Muybridge’s best-known photographs, giving his images of animal and human locomotion a strangely modern appearance, despite their being products of the 1880s. The lines also anticipate those adopted in the 20th century against which US criminals appear in police identification parades — which seems appropriate, given that a decade prior to taking these images, Muybridge himself was convicted of murder. Had the small-town jury not delivered a verdict of justifiable homicide — despite the fact that Muybridge deliberately sought out and gunned down his unarmed victim, and showed no remorse thereafter — then these images would never have existed.

Tsitsi Dangarembga’s arresting Nervous Conditions appeared in 1988 and was the first novel published in English by a black Zimbabwean woman. She is now in mid-career, prominent among those writers who have emerged since independence, who include Petina Gappah, NoViolet Bulawayo and Tendai Huchu. The reason for this flowering of talent cannot be nailed down, but it is clear that Zimbabwe’s turmoil provides plenty of dramatic material. It is noteworthy, too, how many of these novelists are female — and they have abundant subject matter all of their own. Regardless of their country’s independence, liberation for most Zimbabwean women remains a distant prospect.

‘To live and die without knowing the psychedelic experience,’ says the narrator of Threshold, ‘is comparable to never having encountered literature or travelled to another continent.’ Magic mushrooms in Dublin, opioids in Thailand and San Francisco, hallucinogenic cactus in Bolivia and Peru, ketamine in India… he encounters terror, near-death and ecstasy by every means available, including MDMA — Ecstasy itself. This is no glimpse through the doors of perception; it’s free-fall down the rabbit hole to Wonderland. Or hell, depending on how the trip goes. Rob Doyle’s first novel, Here are the Young Men, was a savage picture of a bunch of Dublin losers on their school-leaving summer: a bildungsroman with booze, drugs and murder on the agenda.