Culture

From Aphra Behn to Virginia Woolf, women who make a living by their pens have frequently felt the need to announce their singularity; to be, as Mary Wollstonecraft announced, ‘the first of a new genus’. Each of the women in Michelle Dean’s survey of mostly American essayists, reviewers and novelists had to defend her right to debate, critique and observe. The lives of Sontag, Arendt, Parker, West, Didion, Ephron and others are woven into a thick braid running the length of the 20th century and into ours. It’s not quite a group biography, but more a study of how their lives and work dovetailed with each other and with the major political and cultural movements of the era.

How can you defend a man you hate? John Fairfax, in his Blind Defence (Little Brown, £16.99), explores this dilemma. Diane Heybridge is found dead in her London flat. She was poor, working-class, without much of a future to look forward to. But did she take her own life, or was she murdered by her callous, jilted partner, Brent Stainsby? Into the fray steps William Benson, an ex-con, a murderer himself, now turned maverick barrister, a person the press and the public love to hate. With his legal partner Tess de Vere, he takes on Stainsby’s case and finds himself defending a man that nobody likes, and that Benson himself despises. As the true and hidden nature of the victim’s life is uncovered, the moral fog turns even murkier.

This is a biography that begins with a bang, swiftly followed by puddles of blood, shrieks of ‘Murder!’ and a chase through the foggy streets of Victorian London. On 8 December 1854, a French émigré was walking through Fitzrovia, close to the heart of radical London, having recently left a pistol-shooting range in Westminster. He had a companion: a mysterious woman with a letter in her pocket and unknown intentions in her heart. It was a cold, wet night. At just past eight o’clock, they arrived at 73 Warren Street, a narrow town house near Tottenham Court Road, where George Moore (a soda water manufacturer who had employed the émigré as an engineer) lived, and were shown into the plush parlour to wait for him.

Once won, rights and freedoms are taken for granted. We all find it difficult to imagine life before the Married Women’s Property Act, when everything belonging to a wife — goods, chattels, children — automatically became the sole property of her husband. Those born since the 1960s can’t really envisage what it was like for practising homosexuals in those days. By a similar token, the mind can scarcely take in the fact that in Penal times, Catholics could not buy or sell land; or that it was an imprisonable offence for Catholics to run a school. It was a legal offence to dress as a monk or a nun out of doors.

The figure of Donald Trump looms over Sarah Churchwell’s new history of American national identity, which highlights the ugliest features of the country’s ingrained traditions of intolerance and bigotry. But it is the current president’s father, Fred, who first leaps off the page in a startling cameo appearance. On Memorial Day 1927, as Churchwell recounts, the white supremacist, anti-Catholic and anti-Semitic Ku Klux Klan organised a march in New York City’s borough of Queens, home to the German-American Trump family, whose patriarch, Friedrich Trump, had emigrated to the United States in 1885.

Those with long enough memories may remember Desmond Morris as the presenter of the hit ITV children’s programme of Zoo Time in the late 1950s and early 1960s. Or perhaps as the author of the 1968 bestseller The Naked Ape, in which he argued that, beneath our sophisticated veneer, humans are nothing more than primates. Now aged 90, he has written an uproariously funny book on the ostensibly unlikely subject of the Surrealists. I say ‘ostensibly’ because, before becoming a successful zoologist, Morris was actually a painter and even had a joint exhibition in London with Joan Miró. In The Lives of the Surrealists he takes on the role of a latter-day Vasari, penning mini-biographies of 32 artists who were associated with Surrealism.