Culture

In the summer of 1942, the Polish poet Władysław Szlengel made a detour into light verse with ‘The Passports’: ‘I would like to have a Uruguayan passport/ Oh, what a beautiful land it is/ How nice it must feel to be the subject/ Of the land called Uruguay...’ Successive quatrains hymned the joys of Paraguayan, Costa Rican, Bolivian and Honduran citizenship before the final stanza declared that it was only with one of these citizenships that ‘one can live peacefully in Warsaw’.  The joke was serious. Szlengel was a Jewish man living in the Warsaw ghetto; and as Roger Moorhouse’s absorbing new book describes, Latin American passports were, or could be, a ticket to safety, or at least a hook on which the shreds of hope could be hung.

It is very possible that Peter Kemp is the best-read man in Britain. Certainly, as the Sunday Times’s chief literary critic for goodness knows how many years, he has read and opined upon more works of new fiction than most. His is either a dream job or an absolute nightmare, depending on how you feel about the state of the novel. A Sisphyean task? A Herculean labour? Or just a colossal waste of time? All those keen debuts, all that second-rate dross, all those egos demanding attention: Kemp has bravely buckled up, knuckled down and dutifully banged out 800-plus words, week in, week out, for longer than most of us have been able to tell the difference between a roman-fleuve and a roman-à-clef.

All writers studying their craft should be encouraged to try translation, thinks Idra Novey, the Pennsylvania-born novelist, poet and, si, translator. Working in another language confers the freedom to slip out of their own voices, developing their own tone in the process, she told one interviewer. On the strength of Novey’s third novel, Take What You Need, an adept tale about an estranged stepmother and daughter set in a fictional former steel town in Appalachia, all writers should heed her advice.

Many of the best literary children – think the creations of Henry James or Elizabeth Bowen – have something creepy about them. These are girls and boys who see through the hypocrisy of adults, and there’s going to be something unnerving about their precocity. Jean Stafford’s Mollie and Ralph took their place in a lineage with James’s Flora and Miles and Bowen’s Henrietta and Leopold when she flung them, bespectacled and prone to nosebleeds, into the world in 1946. Stafford was the first wife of Robert Lowell, and it’s the main thing most people know about her now – unsurprisingly. Lowell was a man who made his mark on his wives, and in Stafford’s case the marks were literal – he drunkenly drove her into a brick wall.

The most impressive banknote I have ever seen is the 500 ruble note produced by the Imperial Bank of Russia between 1905 and 1912. About four times the size of a modern £50 note, it is magnificently emblazoned with a portrait of Peter the Great and a profusion of cupids and classical pillars. It looks as high-denomination money should look – luxuriant, confidence-inspiring and valuable. The ruble (from ‘rubit’, to chop) was originally a chopped-off piece of Viking silver ingot Appearances can, of course, be deceptive. My Russian wife’s great-great-grand-father, the owner of the Volga Bread Bank of Saratov, unwisely chose to keep his considerable savings in the form of trunkloads of such 500 ruble notes.

Dante travels through the circles of Hell, guided by Virgil. At the summit of the mountain of Purgatory, Virgil abandons him, leaving him with Beatrice, the woman Dante loved. With Beatrice’s smile, Dante is transported to Paradise, experiencing astral bliss as he soars through the cosmos. But Beatrice must leave him at the approach to the Eternal Fountain: for him to glimpse her smile further would be to incinerate him with its divinity. The relationship between humanity and divinity lies at the heart of this new history of the Middle Ages. Mark Gregory Pegg’s vignettes of martyrs, theologians, scholastics and secular figures illustrate the development of Christianity in the West after the collapse of the Roman empire, and the making of Latin Christendom.