Culture

Cedric Morris is often referred to as an artist-plantsman, and while as a breeder of plants, most particularly of irises, he has always been highly regarded in horticultural circles, his reputation as a painter has been subject to regular fluctuations. Last year, two excellent and complementary London exhibitions — Cedric Morris: Artist Plantsman at the Garden Museum and Cedric Morris: Beyond the Garden  Wall at Philip Mould & Company — did a great deal to revive interest in his paintings; and so a joint biography of Morris and his partner Arthur Lett-Haines is welcome. They met in 1918 at an Armistice party hosted by Lett (as he was always known) and his wife.

Andrew Ridker’s The Altruists (Viking, £20) is a Jewish family saga of academic parents and grown-up offspring. From this rather careworn material he manages to wring a spry comedy of parental failure and romantic misadventure. Arthur Alter is a terrible father, an ‘emotional cheapskate’ who attempts to bring his estranged children Ethan and Maggie together for a weekend in St Louis, with the ulterior motive of getting his hands on their inheritance. Unsurprisingly, he was excluded from his wife’s will, as he was sleeping with a much younger German medievalist throughout her final illness.

I was flicking through an old copy of The Spectator the other day, one of the issues containing contributors’ ‘Christmas Books’, and there was a comment of Jonathan Sumption’s that ‘as a general rule, biography is a poor way to learn history’. It is primarily a matter of approach rather than simply subject of course, but if one was drawing up a shortlist of men who might qualify as exceptions to the rule, then Philip Mansel’s ‘King of the World’, Louis XIV, would surely be very near the top.

It is more than a generation since the appearance of Barry Lopez’s classic Arctic Dreams. That book’s effortless integration of history, anthropology and ecology, mediated through its author’s radiant prose, introduced a global audience to the frozen north. It freed the frigid ice world from much historical polar literature, conjuring instead landscapes of delicate beauty and extraordinary natural abundance. Lopez also revealed the Arctic as a place of remarkable human achievement, as expressed in the survival skills and spiritual endurance of the indigenous Inuit. A follow-up has long been anticipated and now, 33 years later, Horizon has finally arrived.

Niven Govinden’s This Brutal House is set in the demi-monde of the New York vogue ball. This is an organised, charged battle of display, a peacocking, glitter-fuelled extravaganza, in which transvestites and transsexuals compete against each other for kudos and cash prizes. Eyelashes lengthen, hair is piled up for hours, dresses shimmer and heels clack, as some of the city’s most vulnerable inhabitants seek a place of self-expression and safety. The participants urge each other on with powerful expressions in demotic idiom. One chapter is devoted to a list of vogue ball categories. Running to several pages, it includes everything from ‘Category is: see you in the afternoon realness’ to ‘Category is: dance on my grave madness’.

Death by water haunts the stories of Africans in Europe that flow through this fourth novel by Helon Habila. From the drowning of Milton’s swain Lycidas (a sort of tidal refrain for the book) to the capsized boat in the closing pages that offers victims in their hundreds to the ‘enraged leviathan’ of the sea, the imperious waves help wash these personal histories in an aura of myth. Whether privileged or penniless, the migrants whose journeys fill this episodic fresco of a work all crave the stories ‘traded as a currency among homeless, rootless people’. They hunger for narratives because ‘the water they all crossed to come here has dissolved the past’.