Culture

If MI5 had a Cold War file on you – paper in those happy days – it didn’t mean they thought you were a spy. Nor even that you were especially interesting. Files were a means of storing and retrieving information. They could be general subject files or personal files (PFs) relating to individuals. Some PF holders were secretly investigated, but many were merely monitored – i.e. information about them was collated until it was clear there was no need for further investigation. Following their seizure of power in Russia in 1917, the avowed mission of the Soviet government was to foment worldwide revolution in order to impose communism. MI5 was tasked with investigating, monitoring and – within the law – preventing subversion.

A Little Hope, Ethan Joella’s debut novel, is about the lives of a dozen or so ordinary people who live in smalltown East Coast America. By helicopter over Connecticut ‘you wouldn’t notice Wharton right away’. Yet the problems its inhabitants face are universal. There is the seemingly American Dream family – Greg, Freddie, Addie the daughter and Wizard the dog. In line with the novel’s themes of ‘hurt’ and ‘hope’, Greg develops an aggressive blood cancer and is fighting for his life. Chemo and radiotherapy weaken him; ginger ale tastes like metallic fizz and the side-effects diminish his resolve. Freddie helps out as a seamstress at Crowley Cleaners, which Darcy Crowley established after her husband Van’s death.

Don’t bring a bottle. Your chances of finding a party in full swing down those chilly corridors are close to zero. At most, you might hear the sound of a distant flute playing a courante by Lully. As Sir Howard Davies puts it in this insider’s view, which manages to be both authoritative and quite cheeky: The Treasury does not cultivate a warm and cuddly working environment. You may well not know if your immediate boss has a spouse or partner, and would certainly never meet them if they exist. Social events are at a premium. Yet this notoriously ascetic culture is not in the least hierarchical.

It’s been a century since the heyday of the Bloomsbury group, and now Nino Strachey, a descendant of one of the key families, has written a superb, sparky and reflective book charting the doings of the younger members of the artistic and intellectual coterie. While it is easy to identify Old Bloomsbury – familiar names include Lytton and James Strachey, Duncan Grant, David ‘Bunny’ Garnett, Virginia and Leonard Woolf, Vanessa and Clive Bell, Roger Fry, John Maynard Keynes, E.M. Forster and Desmond and Molly MacCarthy – naming the younger ‘Bloomsberries’ is a slippery task. Do we count Dora Carrington, who loved Lytton to distraction, and after his death found she could not live without him?

Thomas Piketty, the French economist who shot to fame for writing a colossal work of economics that many people bought but few actually read, recently received some advice. ‘What you write is interesting,’ a friend told him, ‘but couldn’t you make it a little shorter?’ Piketty has answered the call for brevity with a book which by his standards is the equivalent of a Post-it note. It’s certainly ‘brief’ – but is it a ‘history of equality’? Alas, no. What we have instead is an eye-wateringly left-wing manifesto for dismantling economic inequality, both domestically and internationally.

When I mentioned the subject of this book to someone reasonably well-informed about 20th-century British art, the response was: ‘Isn’t that all portrait and still-life paintings?’ Well, perhaps if you’re looking exclusively at the contents of the Royal Academy Summer Exhibitions – and even there landscape was another popular choice. But actually the period was alive with innovation – with abstraction and surrealism infiltrating and balancing out a new kind of realism. Art was a melting pot of competing attitudes, drawing equally on native traditions and stimulating foreign influences, principally Cézanne and Picasso. In her enjoyable new book Frances Spalding identifies ‘a recurrent tension...