Culture

Parlour game time! The Literary Canon is an intimidating thing at the best of times but these days it's becoming grotesquely bloated. It could do with losing some weight. So, in that spirit, it's time to think of what books could safely be ditched without causing too much pain or guilt.  The Second Pass starts the game by choosing ten books that (they think) your life might be improved by ignoring: White Noise by Don DeLillo Absalom, Absalom by William Faulkner One Hundred Years of Solitude by Gabriel García Márquez The Road by Cormac McCarthy The Rainbow by D. H.

This is a glorious book with one crippling flaw. Let's put the ecstasy before the agony. Faber and Faber, founded in 1929, commissioned some of the best book jackets of all time; Private Eye, retracting its claws for once, called the firm Fabber and Fabber — of course that applied to the authors as well as the designs. A few of the designs seem dated in a bad sense, but most of them are joyfully, exhilaratingly redolent of their time — especially the art deco and ‘Contemp’ry’ ones. They say you shouldn’t judge a book by its cover — an update on ‘Fine feathers don’t make fine birds’ — but you can judge a lot of these books by their jackets.

Some writers spend their careers happily producing variations on the same book. Others seem to rethink the sort of book they would like to write with each new work. Only a very few, however, have a career which looks like a planned trajectory into something completely new; you would not predict Tolstoy’s late fables from his first autobiographical sketches, or the opaque fantasy of James Joyce’s Finnegans Wake from the dogged realism of Dubliners. And yet all the steps in between are carefully considered, and the career makes perfect sense. Italo Calvino was very much one of those writers.

‘I think there would be something wrong with a middle-aged man who could take pleasure in Firbank’. That, more or less, was Evelyn Waugh’s judgement in the interview he accorded the Paris Review in the mid-Fifties. (I say ‘more or less’ because I can’t lay my hands on that volume of the interviews, but if the words are not exact, the sense is). Yet Firbank had, as he admitted , influenced him when young, along with Hemingway, who had also, as Waugh observed, developed ‘the technical discoveries upon which Ronald Firbank so negligently stumbled’. That quotation, unlike perhaps my first one, is accurate, for it is taken from an  admiring essay on Firbank’s work which Waugh wrote in 1929.

The Guardian is a great* newspaper but also an uncommonly infuriating rag. Take, for instance, this paragraph in what was an otherwise unobjectionable article about Elizabeth David: Now I should be quite clear from the outset that I've always been a little ambivalent about David. She famously moved food writing out of the dark didactic corners of domestic science and began to write beautifully and poetically about food as a sensual experience, but she also in her early career wrote unashamedly for the posh and focused attention away from British cuisine and on to Mediterranean food. I find it hard to read her work without enjoyment but it also defines a kind of "holidays-in-Provence" middle-class elitism. Right on!

Ox-Tales: Earth, Air, Fire, Water, Oxfam, £5 each Buy short stories and help the wretched of the earth! I don’t mean short-story writers, on this occasion, though that injunction usually holds too. No: I mean, if you buy one or, preferably, all four of these pretty, pocket-sized paperbacks you’ll be donating to Oxfam. Cooked up between the Hay Festival’s impresario Peter Florence and Mark Ellingham of Profile Books, Ox-Tales is a sort of literary equivalent of the War Child album: a gallimaufry of short fiction donated by various authors — about two thirds original stories, about a third novel-extracts.

Surviving, by Allan Massie The Death of a Pope, by Piers Paul Read Coward at the Bridge, by James Delingpole Alcoholism, with its lonely inner conflict between escapism and conscience, is an inexhaustible subject for literature. The emotional agony of addiction is fascinating, as long as it is other people’s. Allan Massie, the illustrious Scottish littérateur, has written an empathetic novel about the loneliness of the long-distance boozer, always isolated, even in the company of fellow alcoholics who try to help. Some alcoholics in desperation submit to Alcoholics Anonymous, in the hope that mutual support may ease the daily fear of lapsing. Massie once spent several years in Rome and evidently knows the city street by street. It is the perfect venue for his novel.

David Crane’s latest book is much more interesting than its title would lead you to believe. If you buy it hoping for a collection of stories of derring-do and British pluck, you won’t be wholly disappointed: you will indeed learn how Frank Abney Hastings, having got himself sacked from the Royal Navy for behaving like a petulant teenager when given his first command, went on almost single-handed to invent naval steam-powered gunboats, and used the first one he built to sink a ridiculous number of Turkish ships in the Greek War of Independence.

Dublin has a special relationship with fiction, which in recent years has inspired some excellent crime novels. Among them is Declan Hughes’s Ed Loy series, which gives a distinctively Irish twist to the flawed private investigator of American pulp fiction. Loy has many of the classic characteristics of the breed, including the tastes for hard liquor, lovely women and lost causes. But Hughes places his protagonist in a sharply observed contemporary Dublin; and his plots erupt from the city’s faultlines. In All The Dead Voices (John Murray, £16.

The City & The City, by China Miéville China Miéville’s second book, Perdido Street Station, made his name by reimagining fantasy as thoroughly as had M. John Harrison’s Viriconium or Alasdair Gray’s Lanark. He followed it with two more novels set in the same world, and a children’s fantasy (Un Lun Dun) that was hailed as an instant classic and made the New York Times bestseller lists. The City & The City, however, has not a single monster, demon or alien. It is, at first glance, a straightforward police procedural.