Culture

A World According to Women: An End to Thinking, by Jane McLoughlin The Noughtie Girl’s Guide to Feminism, by Ellie Levenson Jane McLoughlin is furious with women. We have let the feminists down and turned off the rational sides of our brains in favour of the thrilling emotional life that popular culture provides. The feminists were too intellectual and too angry with men to win the sympathy of most ordinary women, who generally liked their husbands and fathers. Instead, popular culture took possession of female psyches and has left us unthinking, disunited and unable to cope with, or even identify, reality. A lot of the time McLoughlin is convincing.

That the rise of a powerful coterie of Russian billionaires overlapped with Britain’s transformation into an offshore tax-haven is unlikely to escape the notice of both countries’ future historians. Indeed it is entirely plausible that had successive British governments in the 1990s been less amenable to foreign wealth, this book would have been entitled Genevagrad rather than Londongrad. Mark Hollingsworth and Stewart Lansley raise interesting questions about how the rocketing price of property, contemporary art and even private school fees of early Noughties Britain, fuelled by a steady supply of roubles, contributed to the bubble preceding the bust.

Patrick Marnham visits Brazil’s annual festival of literature Many years ago a wild-eyed Englishman hacked his way into the Amazon rain forest and disappeared, never to be seen again. Since then the fate of Percy Fawcett, known as ‘the Colonel’, has remained a mystery. Fawcett, a heavily bearded pipe-smoker in a deerstalker hat, was a figure of fun to the bright young things of England in the 1920s. This was unfair since he was engaged in work of some importance; he was mapping the Brazilian frontier with Bolivia and Peru. Colonel Fawcett returned to the Amazon many times and over the years, distracted from his science, he became convinced of the existence of a Lost World in the heart of the forest.

In 1935, Noël Coward included in his series of playlets, Tonight at 8.30, a jaunty, song-filled exposé, in Victorian dress, of fam- ily relationships, Family Album. Penelope Lively’s novel of the same title, her 16th, covers similar territory — without the jauntiness or predisposition to burst into song. It is an apt title. Lively’s novel is an extended meditation on the meaning of family, the nature of blood relationship and our interconnectedness based on the accident of birth. In place of conventional plot, it proceeds by snapshots and vignettes, a series of portraits and first-person narratives, not so much a story as a sequence of word pictures held together like beads on a string by the flexible thread of the subjects’ kinship.

1938: Hitler’s Gamble, by Giles MacDonogh Hitler’s greatest gamble in 1938 was his determination to occupy the Czechoslovak Sudetenland, even at the risk of sparking a European war. Neither Neville Cham- berlain nor the French prime minister, Edouard Daladier, was prepared to play for such high stakes and they threw in their chips, giving the Führer what he wanted without bloodshed. It will therefore come as a surprise that in Giles MacDonogh’s 1938: Hitler’s Gamble, a mere seven paragraphs are devoted to the Munich conference that effectively sealed Czechoslovakia’s fate. Instead it is the Austrian capital that takes centre stage in this compelling survey of a tumultuous year.

When I first read Naked Lunch, as a teenager sleeping rough in a Greek olive grove, I thought it funny, baffling and vile, its hallucinatory horrors recalling paintings by Francis Bacon — ‘mouth and eyes are one organ that leaps forward to snap with transparent teeth’. A diet of ouzo and dodgy mousaka played havoc with my bowels, and the pages before me were soon behind me, which I thought would please William Burroughs, whose humour was decidedly cloacal. It would also have pleased Edith Sitwell, whose review suggested that such was a fitting use for the book: ‘I do not wish to spend the rest of my life,’ she sniffed, ‘with my nose nailed to other people’s lavatories.

Around the middle of the 19th century a new image of horror appeared in Victorian art. In 1864 Edwin Landseer exhibited something the like of which he had never painted before and never would again. In ‘Man Proposes, God Disposes’, the man who had painted ‘Dignity and Impudence’ shows two polar bears, one howling above a human rib-cage, the other tearing at the sails of a ship crushed in the ice, all this in the bleak half light of what passes for a day in the Arctic. The picture is so terrifying that, hanging in the Great Hall of the Royal Holloway College, it is even now covered over when students take their exams.

This sparkling biography of a small-part actor who did two missions into Nazi-occupied France as a radio operator for the Special Operations Executive (SOE) begins with a rather iffy 60 pages on his identity and pre-war stage career; much of what the agent said about himself was contradictory, much was exaggerated, and little of it was reliable. Almost everybody who met him agreed that he was tremendous fun to be with; anyone who knew him at all well realised that he was homosexual — in an age when homosexuality was illegal. Who his father was remains in some doubt; his mother was an opera singer, under the stage name of Emma Luart.

This year’s summer flurry of debut novels appears to tick all the booksellers’ boxes. This year’s summer flurry of debut novels appears to tick all the booksellers’ boxes. There’s the headline grabber, the European bestseller, the wartime melodrama and the quirky romancer. Publishers recognise a good thing when they see it. 60 Years Later is a case in point, having already hit the news pages and caused a buzz of expectation (Windupbird Publishing, £7.99). Flirtatiously spun as a sequel to Salinger’s Catcher in the Rye, its author has unsurprisingly opted for a reclusive nom de plume. The jacket announces the arrival of one John David California. The defendant’s name on the lawsuit swiftly dispatched by the real J. D.