Culture

The Girl with the Dragon Tattoo (MacLehose Press, £14.99, translated from the Swedish by Stephen Murray) is the first volume of Stieg Larsson’s Millennium Trilogy. Larsson was a journalist who sadly died of a heart attack before publication. But the books are selling in their millions across Europe and, once you read the first of them, it’s not hard to see why. The central character, Blomkvist, works for a hard-hitting magazine named Millennium. An attack on a corrupt Swedish billionaire has backfired, leaving him on the brink of financial and professional ruin. He accepts a lifeline in the form of a commission to investigate the disappearance of a teenage girl nearly 40 years earlier in an island variant of the classic locked-room mystery.

Another splendid obituary from The Daily Telegraph that offers a splendid view of a rather different, if also gruesome, world than with which most of us are familiar. Funny too, of course, in the way in which the sadnesses of ghastly people often can be. (I also liked the understatement here: "Like his father, however, Alec Wildenstein could become somewhat disagreeable when things did not go his way.

‘Being Roman,’ declares Catullus, the poet protagonist of Counting the Stars, ‘is a state of mind’. As in earlier novels — The Siege, House of Orphans — Helen Dunmore allows the reader to enter the ‘state of mind’ of a specific moment in history. Here, Julius Caesar’s Rome, in all its squalor and grandeur, brutality and sophistication, is made available to us in a way that is almost wholly convincing. Dunmore constructs her narrative from Catullus’ poetry. In less skilful hands this would seem laboured, but Dunmore is a poet herself and the joins don’t show. Catullus is obsessed with Clodia, the ‘Lesbia’ of his poems. Clodia is ten years older, married and a mother.

The Wessex novels of John Cowper Powys — Wolf Solent (1929), A Glastonbury Romance (1933), Jobber Skald (also published as Weymouth Sands, 1935) and Maiden Castle (1937) — must rank as four of the greatest ever to be written in our language. Even those who do not feel ready for the 1,000-page novel based on Arthurian Britain, Porius (1951) which some consider to be the master work, it should be clear that here we have a truly major figure. Every now and again there is an attempt at a revival. A brave publisher will reissue one of the novels and print on the jacket the plaudits which Powys has received: ‘The only novels produced by an English writer that can fairly be compared with the fictions of Tolstoy and Dostoevsky’, wrote George Steiner.

No one would be allowed to have J. G. Ballard’s career nowadays. When you consider the life of the average English novelist, what Cyril Connolly called the poverty of experience seems almost overwhelming, as the budding writer moves from school to university to a creative writing MA and on to the two-book contract. It is as thin a body of lived experience as the average Labour Cabinet minister possesses. Reading J. G. Ballard’s autobiography, you sometimes need to pause to remind yourself just how young he was at the time of many of the atrocious events described. At the point where most English autobiographies are just beginning, as the subject leaves university, enough horror has been lived through by Ballard to supply a lifetime’s imaginative transformations.

Are books dead? No, just different. Or, rather, story-telling adapts to new technology. To wit, Japan. As the New York Times reports: TOKYO — Until recently, cellphone novels — composed on phone keypads by young women wielding dexterous thumbs and read by fans on their tiny screens — had been dismissed in Japan as a subgenre unworthy of the country that gave the world its first novel, “The Tale of Genji,” a millennium ago. Then last month, the year-end best-seller tally showed that cellphone novels, republished in book form, have not only infiltrated the mainstream but have come to dominate it.

Norm's poll of your favourite English-language novelists has reported its findings. Not a great surprise that Austen and Dickens come first and second. But really, how can Norm's erudite readers have placed Philip Roth third (albeit a very distant third) and Ian McEwan sixth? This suggests a serious lack of, well, judgement. Wodehouse, for the record, came eighth - just behind Graham Greene and ahead of Nabokov.

Richard Shannon has been writing about Gladstone on and off for almost 50 years. His first book, a study of Gladstone and the Bulgarian Agitation, was published in 1963. He is the author of a major biography of Gladstone in two exceptionally hefty volumes, which appeared to critical acclaim in 1982 and 1999. So why does he feel the need to hammer out another 200,000-odd words on the GOM? Well, the answer is really frustration. Shannon disarmingly admits that his two fat volumes of biography were ‘too dense for their own good’. Not enough people read them. Shannon had a view of Gladstone, but the message wasn’t getting across. The purpose of this (relatively) slim version is to drive home the Shannon thesis.

Weimar lasted 14 years, the Third Reich only 12. Yet Weimar is always seen as a prelude to the Third Reich, which appears to have been created by Weimar’s failures. Actually, as Eric Weitz argues, the Weimar Republic (1919-1933) was not responsible for the Reich; it was a democratic, socially aware and progressive government, way ahead of many other European governments in its introduction of workers’ rights, public housing, unemployment benefit and suffrage for women. However, Weimar was, from the beginning, the target of the anti-democratic forces of the established Right — as Weitz describes the disparate forces which could be found in the nobility, the army, business, the churches and in the civil service.

This book exposes newspapers to the same merciless, lethal and sometimes unfair scrutiny which the press itself has long shone on politicians, the royal family and numerous other targets. The results are devastating. Nick Davies has amassed an overwhelming weight of evidence that the British media lies, distorts facts and routinely breaks the law. It is hypnotically readable, commands attention right to the end and has troubled me profoundly ever since. No journalist with any sense of decency can read this work without at times feeling anger and personal shame. I have worked for 25 years as a reporter and thought I understood the business fairly well. But again and again Davies provides fresh jaw-dropping evidence that journalism in Britain today is bent.