Culture

The Weather Woman is the children’s writer Sally Gardner’s first novel for adults under her own name (previously, she used the pseudonym Wray Delaney). Spanning the end of the 18th and the beginning of the 19th centuries, the story describes an England trembling at the French Revolution and haunted by the threat of Napoleon while aristocrats gamble and roister. Gardner’s sense of atmosphere is acute. The frost fairs, the grand ballrooms, the stinking alleyways all come alive. The novel’s major theme is the subjugation of women; its secondary, the border between rationality and intuition. Our thoughtful, unconventional heroine is Neva Tarshin. Her mother, a genius chess player, was forced to hide her talents, only playing as a wayside attraction, disguised as an automated bear.

In 2005 the photographer Peter Beard invited me to his Thunderbolt Ranch in Montauk on the tip of Long Island. I was writing a biography of Denys Finch Hatton, Karen Blixen’s lover, and Beard had known Blixen at the end of her life. When Graham Boynton began this biography he telephoned me, and I told him about that weekend I spent alone with Beard. At the end of my story, there was silence. Then Boynton said: ‘You’re the only woman I’ve ever heard of he didn’t make a pass at.’ Born in New York in 1938, Beard was a trust-fund Wasp, Yale-educated. Having started as a fashion photographer, he became famous for collages which sold for hundreds of thousands of dollars at Christie’s in London and New York.

Despite being awarded a Nobel in economics in 1974, Friedrich Hayek was a great thinker rather than a great economist. He called himself a ‘muddler’. His own attempt to build an economic theory floundered. His major contribution was to emphasise the limitations  of economic knowledge, and thus the inevitable frustration of efforts to build economic utopias. His theorising was abstract, but his purpose was practical: to make the case for a liberal economic order which would be proof against the political and economic wickedness and madness through which he lived: the two world wars, the Great Depression and the rise and fall of fascism and communism. Hayek’s was a slow-burning flame.

There is an island in the Caribbean so small that it doesn’t appear on many world maps. Its name is Redonda; one of its kings, the Spanish writer Javier Marías, died two months ago. It’s an unforgiving place, uninhabited and windswept, basically a large rock a mile long and about a third of a mile wide. But birds like it, particularly a species called the booby, whose calls sound like a person crying out: ‘Oh no! Oh no! Oh no!’ The fantasy kingdom even had a national anthem – and a flag designed by the Duke of Guano The island is the subject of the Canadian writer Michael Hingston’s often excellent Try Not to Be Strange. I can see booksellers scratching their heads over where to shelve it.

John Lewis-Stempel is nearly as prolific as the natural world about which he writes so well. His voice is distinctive – that of a traditional agriculturist of lyrical articulacy, an observant ecologist who finds mythopoeic magic in everyday animals, who honours his Herefordshire origins but addresses all England. Cattle in a frosty field are transfigured into witnesses of the Nativity As with his monographs on meadows and ponds, Nightwalking looks at under-appreciated aspects of the rural scene – this time, the most enigmatic of all. Like Robert Frost, poets often aspire to be ‘acquainted with the night’, and many are cited here.

Craig Brown is responsible for the astonishing late flowering of Anne Glenconner. It was his biography Ma’am Darling: 99 Glimpses of Princess Margaret that so enraged her that, in an effort to stick up for her friend, whom she served as a lady-in-waiting for 30 years, Lady Glenconner started writing in her mid-eighties. She hasn’t stopped since. First came an internationally best-selling memoir, Lady in Waiting, then two pacy novels. And now, coinciding with her 90th birthday, as well as (no flies on her) the new season of The Crown, Christmas etc, she publishes this volume of ‘life lessons’ – a catch-all, really, for any other top toff reflections from this most likeable of survivors.

The Peckham Experiment was a radical, if earnest, initiative begun in 1926 in which working-class families were given access to physical activities, such as swimming, as well as workshops and a shot at cultural betterment. It’s into this rather worthy scheme that identical twins, the subjects of Guy Ware’s novel, are born: Charlie and JJ, the offspring of communist parents, who are later orphaned during the Blitz. Both go on to long careers in housing, and the book tracks their progress, alongside themes of ownership and exploitation, against the backdrop of key events in postwar British history. The novel begins on the eve of JJ’s funeral, with Charlie struggling to write a eulogy for his 85-year-old brother.

As a teenager growing up in Cheshire I had a metal detector. Although I was slightly ashamed of it, I found all sorts of intriguing things: shrapnel, a French coin, a Khartoum Racing Club key ring, an adze and a silver brooch in the shape of a lobster. All went well until I found a second world war bomb in Tatton Park. They had to call out the army, and I got a Grade A bollocking. People hated metal detectors. Since then I haven’t given them much thought; but Nigel Richardson has. An acclaimed travel writer, he was grounded by the Covid pandemic and, like many of us, began to reflect on the course life had taken. It worried him that he was rootless: the northern kid who went to boarding school in Sussex, the ‘citizen of nowhere’, without tribe or peers.

Is Cormac McCarthy among the last generation of novelists to possess a Style? Of course all writers have a characteristic style, however unassuming; but not many these days have a Style in the grand manner, the sort that Kingsley Amis (I think writing about Nabokov) described as a high level of flutter and wow. There are conversations about what I think of as ‘novelists’ science’, not really intended to be understood The great beasts of American literature have often aimed for prose that couldn’t be mistaken for anyone else’s – Hemingway, Faulkner, Bellow, Updike. Though there were always intensely mannered novelists in England, they had less of a heroically manly quality – Firbank, Wodehouse, Elizabeth Bowen, Henry Green.