Culture

The German writer Judith Hermann burst on the literary scene in 1998 with her short story collection Summerhouse, Later, and was soon heralded as one of a new wave of Fräuleinwunder – girl wonders who were writing fiction that felt fresh and uninhibited. Now she has produced a memoir of sorts – in parts slyly moving, in others so stony-faced and self-serious as to border on the parodic. First the parodic. The book opens one night in Berlin with Hermann running into the psychotherapist she has been seeing three times a week for ten years. Over the course of these sessions, she recalls, she fell in love, then out of love, with him, though he hardly spoke to her at all. This encounter feels initially charged and full of promise, but it leads nowhere in particular.

Richard Ellmann’s acclaimed life of James Joyce was published in 1959, with a revised and expanded edition appearing in 1982. The first edition, the work of an ambitious young American academic, received what Ellmann’s editor at Oxford University Press described as ‘the most ecstatic reaction I have seen to any book I have known anything about’. Ellmann’s work would ‘fix Joyce’s image for a generation’ wrote Frank Kermode in The Spectator, a prediction described by Zachary Leader as ‘if anything, too cautious’. By the time of the second edition, Ellmann had become a lionised Oxford don and the image of Joyce he had fixed was starting to chafe.

Watch The Spectator’s literary editor, Sam Leith, and the military historian and former Telegraph editor-in-chief Max Hastings, uncover the real story of D-Day. They discussed Max’s new book, Sword: D-Day – Trial by Battle, which explores – with extraordinary vividness – the actions of the Commando brigade, Montgomery’s 3rd Infantry and 6th Airborne divisions at Sword beach in June 1944. We also celebrated the 80th anniversary of VE Day.

As a young child in the mid-1960s, Cécile Desprairies listened hour after hour to her mother Lucie dreamily recalling the 1940s, dwelling on a past peopled by undefined heroes and ‘the bastards’ who murdered them. Names were rarely mentioned or hastily passed over. In the fashionable Paris apartment there were daily gatherings – her mother, aunt, cousin and grandmother twittering like birds, obsessed with fashion and cosmetics. Between trying on clothes, there was endless looking back at a lost golden age and lamenting the disasters that followed. Lucie was always in charge, her second husband Charles, Cécile’s father, casually excluded. There was gossip about acquaintances, women with Jewish names described as ‘wealthy’, all apparently orphaned.

Any consideration of Stefan Collini’s subject has surely to address a major recent issue. The academic study of English, both at school and university, has fallen away significantly, with the numbers opting for it greatly diminishing. Anecdotal evidence from even the most serious institutions suggests that many students are now finding previously accessible texts impossible to read or understand – because of their length (Charles Dickens), their complexity of meaning (Alexander Pope) or remote sensibility or politics (Joseph Conrad). Collini has been given a generous amount of space to write his history. Despite this, he has chosen to end it more than 50 years ago. His subtitle is quite misleading.

Girl, 1983, a fusion of novel and memoir, tantalises with what we already know of its author. Linn Ullmann is the daughter of the Norwegian actress Liv Ullmann and the much older Swedish film director Ingmar Bergman. Their relationship was probed in her previous work, Unquiet. Here the parents are more distant figures, as the adult Linn attempts to reconstruct her headstrong 16-year-old self and recover a disturbing interlude spent in Paris as a would-be model. In 2019, Ullmann is struggling to write when her younger self materialises like an imaginary friend with a message that demands to be heard. Ullmann has a daughter now, which makes the quest to understand the events of decades ago all the more urgent.

‘Tawny owls,’ I tell friends and family, ‘can’t see in the dark any better than we can. So they memorise the whole wood! But they may be able to see sound,’ I burble. ‘And the Latin name for a blue tit is Cyanistes caeruleus obscurus: Heavenly hidden blue one!’ In Bird School, Adam Nicolson rejoices in the detailed stories of some of the birds on his farm in Sussex. Its precursor, The Seabird’s Cry, a love letter to a dozen species, soared over the coasts of Scotland, ablaze with sea light. The Sussex Weald on a dull spring dawn offers a claggier setting. Puffins seem more interesting than marsh tits. But in fact Bird School is even better. Nicolson makes like the bowerbird, which constructs elaborate artistic temples of seduction.

You can learn a lot about a winemaker by tasting his wine. In The Accidental Connoisseur, Lawrence Osborne wrote of one wine that smelt of ‘simmering insanity’, reflecting the angry Italian who made it. I didn’t have quite such an extreme reaction to Peter Hahn’s Clos de la Meslerie Vouvray, but I did deduce that he was idealistic, determined, romantic, perhaps a little dogmatic, and given to certain esoteric beliefs. Having now read his book Angels in the Cellar, I can say that my deductions were mostly right. Hahn is an American whose career as an investment banker came to an end when he suffered a breakdown in the back of a London taxi. He decided to give up the rat race and bought a neglected Vouvray domaine, where he moved with his family to live la belle vie.