Culture

In 1930, when she was 19 years old, Edda Mussolini married Galeazzo Ciano. His father was a loyal minister in her father’s government: it was a suitable match. Five hundred wedding invitations went out to the Roman nobility, to diplomats from more than 30 countries and to all the senior fascists, the gerarchi. After the ceremony the newlyweds left for Capri, Edda driving her own white Alfa Romeo, with servants and luggage following in another car and bodyguards in a third. They set off at top speed. Then Edda came to a sudden halt. She had noticed a fourth car behind them. She might have supposed that as a married woman she was about to get out from under the massive shadow of her father – but no.

It takes chutzpah to tackle a national treasure as jealously loved and gatekept as Nancy Mitford’s The Pursuit of Love. Purists greeted last year’s television adaptation much as cat-owners might welcome a partially eviscerated mouse. I avoided watching, because the Wes Andersonification of my greatest literary succour seemed likely to burst every vein in my eyeballs. Can India Knight pull it off? The bones remain intact. Beautiful, guileless aristocrat Linda Radlett falls disastrously in love with a rich banker and then a broke radical before finding happiness with an urbane Frenchman. But plot was never really the point. The delight is in the details. Knight’s are bang on, and there’s joy in spotting them.

Ronald Blythe, the celebrated author of Akenfield, is to turn 100 next month, and to mark his centenary a beguiling calendrical selection has been made of his ruminations for the Church Times, for which as a lay reader he penned a weekly ‘Word from Wormingford’. It is distilled from 25 years of musings that chase the months from first ghostly intimations of snow at New Year to the blaze of the fire at Wood Hall’s mid-winter supper, while outside ‘the trees crack and the moon is made of ice’.

Putting new wine into old wineskins is an increasingly popular fictional mode. Retellings of 19th-century novels abound. Jane Austen inevitably leads the way, with Val McDermid’s Northanger Abbey, Alexander McCall Smith’s Emma, Joanna Trollope’s Sense and Sensibility, and no fewer than four recent adaptations of Pride and Prejudice. Dickens, too, has been updated, with Michael Rosen’s Bah Humbug and Lorie Langdon’s Olivia Twist. Now Barbara Kingsolver pitches in with a contemporary version of David Copperfield. Her Demon Copperhead is a russet-haired, mixed-race boy from the backwoods of South Virginia.

There are two journeys I’ll need to make after reading Tessa Boase’s heartbreakingly poignant book about London’s lost department stores. First, to Mile End, to see the tiny Georgian building bang in the middle of the pillared façade of what used to be Wickhams and is now Tesco and Sports Direct. During Wickhams’s 1920s expansion, one neighbour, a German clockmaker called Otto Spiegelhalter, simply refused to budge, whatever the financial offer. He eventually agreed to sell his garden so that the store could expand round the back of him. But there, dwarfed by the clock tower, his two-storey house still stands, a monument to stubbornness.

Adapt or die. That brutal Darwinian dictum is too blunt to serve as the motto of Dinosaurs, Lydia Millet’s slim, quietly powerful 12th novel, but the threat of extinction, implicit in the title, hovers in the air. Bird-obsessed – our feathered friends are ‘the last of the dinosaurs’ – the novel tracks two years in the life of a ‘stricken’ character who feels ‘less than whole’. Gil was damaged in early childhood by the sudden death of both parents, and then by a second abandonment, by a long-term girlfriend who absconded, leaving a three-word note: ‘I met someone.’ Gil is rich, having inherited his grandfather’s fortune. He has few friends and no reason to be in one place rather than another.