Culture

Among my earliest recollections is that of wandering into my mother’s bathroom and watching her, toenails incarnadine with polish like pillars above the foam, as she addressed herself sternly along the lines of: ‘I should have covered the jack. Then they could never have made the contract.’ Except for my brother Maurice, who played the piano, we all played bridge in the family, and we continued this in my own home, though my son came to be so much better than all of us that I refused to play with him. Impeccable kindness in criticism is especially hard to take. I had read and enjoyed Sandy Balfour’s previous book, Pretty Girl in Crimson Rose (8), with the subtitle, ‘A Memoir of Love, Exile and Crosswords’.

Anthony Burgess was someone whose accomplishment as a fibber far surpassed even that of such formidable rivals as Laurens van der Post, Lilian Hellman and Patrick O’Brian. What made fibbing particularly perilous for Burgess, as for most fibbers, was that he rarely remembered his fibs. In consequence they varied widely from telling to telling. The best example of this is the case of the son, Paolo Andrea, of the Italian woman, Liana, whom Burgess precipitately took as his second wife within five or six weeks of the death of his first wife, Lynne. In a 1968 Spectator essay, ‘Thoughts of a Belated Father’, Burgess announced that, having just remarried (in fact the marriage did not take place until three days later), he had acquired a four-year-old stepson.

Published recently in the Times, William Rees-Mogg’s contention (in a well-meaning if speciously argued piece on the Vatican’s continuing opposition to the ordination of self-confessed homosexuals) that the sexual proclivities of priests attracted to pre-pubertal children was ‘comparable to Oscar Wilde’s relations with London rent boys’ is typical of a fashionable misapprehension which confuses paedophila (as it is currently understood) with the neo-Socratean, hopelessly idealistic conception of paederastia into which Wilde and his associates threw themselves so energetically at the end of the 19th century.

Dwelling Place is the story of a planter family in 19th-century Georgia, and of the slave community which served it. As an insight into the moral dilemmas of a slave-owning society and the local patriotism which sustained the Confederate side in the American civil war, it is one of the more remarkable recent books on the ante-bellum South. It is also refreshingly free from romantic delusions at one extreme or politically correct cant at the other. The central figure is Charles Colcock Jones, landowner, patriarch and Presbyt- erian minister, who inherited as a young man three cotton plantations and more than 100 slaves in Liberty County, on the Atlantic coast south of Savannah.