Culture

Imagine wandering through Germany. You might picture blustery Baltic seascapes, seen from island retreats such as Rügen. Or you might be hiking in the central Harz mountains, peering down at clouds that drift into green pastures and blend into brownish rock. Perhaps you’re standing at the country’s eastern edge, gazing at moonlight that gleams through gaps in the forests and ravines of sandstone highlands. What we sketch in our minds probably follows the contours of the canvases of Caspar David Friedrich, Germany’s Romantic artist-in-chief. And these stock images have been reproduced in many a tourist guide. They’re now on display again, in full colour and new frames – literally and figuratively – to mark 250 years since Friedrich came into the world.

‘Nothing escape’s the wolf’s fangs,’ thinks the narrator of Katerina. Through an outlandish sequence of chances and choices, somehow its author did just that. Aharon Appelfeld, a child of assimilated parents, lived in the old Jewish heartland of Bukovina. In 1940, short-lived Soviet occupation gave way to Nazi control. His mother was murdered and his father disappeared. Young Aharon escaped the Czernowitz ghetto and survived as a wild child in the forests, sheltered by a village prostitute, then as the ‘slave’ of a Ukrainian bandit gang. When the Red Army arrived he cooked for them before, via a peril-strewn route through Italy, he migrated to Mandate Palestine.

Weird, stinky and occasionally deadly: not everyone can make heart room for mushrooms. But Richard Fortey, a palaeontologist who recently retired from his post at the Natural History Museum after more than three decades’ service, has always found ‘pleasure and perplexity’ in the ‘alien’ world of fungi. In his lovably nerdish 2021 memoir A Curious Boy, Fortey credited the Observer’s Guide to Common Fungi with setting him on the path to a passionate life scientific. As the uncoordinated son of a sporty father (a champion fly fisherman who owned several fishing shops), the young naturalist got his teenage kicks stalking riverbanks and studying the strange organisms he found there. In 2006, he was even briefly credited with identifying a mushroom previously unknown to science.

It is easy to assume that there is not much to be said about the history of the Atlantic before 12 October 1492, when Christopher Columbus reached the Bahamas. In 2005, the Harvard historian Bernard Bailyn published a little book entitled Atlantic History: Concept and Contours which said absolutely nothing about what happened before Columbus, whom he barely mentioned. Atlantic history meant for Bailyn, and the growing mass of Atlantic historians, the story of modern contacts between the four continents that face the Atlantic, especially the nefarious slave trade linking Africa to the Americas.

‘Vivien was barking mad from the word go,’ Laurence Olivier reflected in later life, and Lyndsy Spence’s biography would fully concur with the summing-up. At best, the actress was ‘suspended in a dream world’, unable to separate herself from the classic characters she played – Scarlett O’Hara, with her dark hair and flashing eyes, or Blanche DuBois (‘she is a tragic figure and I understand her’). At her worst, Leigh was, in her own words, ‘a thing, an amoeba, at the bottom of the sea’. Where Madness Lies is a sympathetic description of Leigh’s ‘perturbing nature’; an analysis of her numerous breakdowns, when she was in the grip of manic-depressive cycles – the high spirits and crushing melancholia, when ‘everything inside her brain was white noise’.

Imagine a society, a high-minded psychologist tells his curmudgeonly father, ‘in which people are like cars. They have to go in for inspection once a year’ in order to assess their emotional fitness for the shared highway of life. As for the ‘psychopathic percentage’ whose ‘moral disorders’ lead them to fail this spiritual MoT, never fear: state-funded therapy will get them on the road again. And should they refuse? Surely, as we learn later in The Mark, everyone longs to stand ‘on the right side of history’. The Nordic dream of close-knit, high-trust, mutually supportive welfare societies has always had its internal critics: mavericks, naysayers and backsliders, who prize autonomy beyond, even against, community.