Culture

Wonderful year for Pevsner, or rather for us who use the guides as we potter about. Four new vols: Bedfordshire, Somerset, Cornwall, Cambridgeshire, too big for the pocket, but a reasonable £28 a kick, thanks to Yale. A triumph of perseverance. Raymond Edwards’s biography Tolkien (Robert Hale, £25) is the best one could hope for while the letters and papers remain locked in the Bodleian. Tolkien embraced the northern theory of courage: ‘Defeat is no refutation.’ That was just as well, surrounded as he was by death, delay and failure. It was amazing that he wrote even The Lord of the Rings.

Muriel Spark wasn’t only one of the great British novelists but a cracking literary critic and a lovely essayist. Her book on Mary Shelley is extraordinarily perceptive; ditto, but more fun, is her writing on the Brontës. Carcanet Press, having last year reissued the Shelley book, has now republished The Essence of the Brontës (£12.95), Spark’s compilation of their letters, with essays. It’s a joy on both fronts. Her piece on the siblings as teachers (‘genius, if thwarted, resolves itself in an infinite capacity for inflicting trouble’) is mordantly funny — her sympathies are entirely with their pupils — while the selection of letters is very fine and occasionally downright malicious.

Music Night at the Apollo: A Memoir of Drifting (Bloomsbury, £14.99) describes the year Lilian Pizzichini spent with her cats on the Adam Bonny, a narrowboat moored on the Grand Union Canal amid the factories and sink estates of Southall. The boat stays moored but, on a tide of cider and cheap vodka, and fuelled by skunk, cocaine and heroin, Pizzichini takes a wild and perilous voyage, encountering not only the local Punjabi and Somalian lowlife but also her own ‘white underclass ancestors’. It sounds grim, but it’s actually rhapsodic, funny and weirdly hopeful. Ian McEwan is usually impressive, and The Children Act (Cape, £16.99) is especially so.

I liked Adam Nicolson’s The Mighty Dead: Why Homer Matters (William Collins, £25) so much that — if I had had the first idea how to operate in a betting shop — I would have put a pony on it to win the Samuel Johnson prize. In the event, my incompetence saved me £25. But Nicolson was robbed. Here is a book bursting with enthusiasm, erudition and eccentricity: a travelogue, a memoir, a work of literary criticism and, at bottom, an archaeology of the western imagination. I found it completely thrilling. Also, in John Berryman’s centenary year I was delighted to see Farrar, Straus and Giroux reissuing his work in some gorgeous new editions.

As someone who spent several years writing TV reviews mainly for laughs, I kneel before the twin idols of Clive James and Nancy Banks-Smith, without whom I wouldn’t have had a career. As we all know, James is a touch under the weather these days, and it was probably for sentimental reasons that I found my way to A Point of View (Picador, £16.99, published in 2011), a collection of his contributions to the Radio 4 series between 2007 and 2009. Each of these talks, 60 in all, runs to around 1,600 words, and James appends an explanatory afterword to every one. They are magnificent, possibly even masterly and, added together, comprise a single-volume primer on how to write for broadcast.

2014 has been the year of 1914. In the same way that Christmas puddings appear in supermarkets in October, many of the contestants in the publishing race for 2014 defied starter’s orders and came out pre-maturely in 2013. What has been striking about the bumper crop of first world war books is the terrifically high standard. One of last year’s books which I’ve only just got round to reading in paperback is David Reynolds’s Long Shadow (Simon & Schuster, £9.99). Because the Great War seemed so meaningless, killing so many British soldiers for reasons which remain remote and obscure even today, it has always been especially difficult for the British to make sense of it.

Visitors to the National Trust’s Sissinghurst — the decayed Elizabethan castle transformed by Vita Sackville-West in the early 1930s — are regaled by picturesque extracts from Vita’s landscape poems, and moving professions of love to and from her husband Harold Nicolson. Matthew Dennison’s title, Behind the Mask, indicates his ambition to get beyond such projections to something more real. But the metaphor is unfortunate. There was no single image that Vita adopted or which others imposed on her — nor a single real self which has been concealed until now. Dennison knows this.

If Eduard Limonov, the subject of Emmanuel Carrère’s utterly engrossing biographical ‘novel’, hadn’t invented himself, Carrère would have had to invent him. This is not to say that Limonov, one of the most colourful and controversial characters to have emerged on the Russian literary and political landscapes in the last half century, is a liar. Quite the contrary.

For the Figaro journalist and TV commentator Eric Zemmour, whose Le Suicide français has been topping the bestseller lists in France, France is ‘the sick man of Europe’. The land of liberty was once admired by the whole world. Then came May ’68, feminism, immigration, consumerism and homosexuality. On the surface, nothing has changed; espressos are still being plonked down on zinc counters, and ‘the legs of Parisian women still turn heads’. But ‘the soul has gone’. Gays and Muslims are taking over, and France is ‘dissolving in the icy waters of individualism and self-hatred’. The blurb calls Le Suicide français an ‘analyse’, but there is nothing analytical about it.