Culture

‘Male writers now are the opposition party, and that may not be such a bad thing for them.’ So Rob Doyle writes in this addictive self-portrait/collection of reviews. And if male writers are now in navel-gazing opposition, ousted by a landslide of female talent, judging by this book Doyle is one of their most reactionary members, still in thrall to those outmoded frontbenchers who were long ago elevated to the Lords: Nietzsche, Huysmans, Bataille, Houellebecq, Amis Jr. His themes (male heterosexuality, aggression, drug use, alienation, philosophy) and consciously euphonious style reek of what he, in a scathing passage of self-reflection, calls a ‘desperate desire to be edgy’.

The premise of White Debt is that the author’s ancestors ran a business selling a product grown by slaves. Therefore he wants to investigate Britain’s role in slavery — which is a rather odd framing, since his family’s tobacco firm wasn’t started until decades after slavery in British colonies was abolished. But Thomas Harding apparently only recently learned that slavery happened in the British Empire. He goes as far as to ask: ‘How could I not have known this?’ Well, truly, I don’t know. I don’t recall the time when I wasn’t aware that slavery was the reason that people of African descent live in the Caribbean today. Some of their ancestors were enslaved in territories that belonged to Britain.

Last year was the 200th anniversary of the outbreak of the war of Greek independence in March 1821. It has been celebrated by a flood of books and events, a particularly instructive exhibition at the Benaki Museum in Athens and this gruesome page-turner. Mark Mazower, professor of history at Columbia University and the author of many books on modern Greece, stresses the passion for freedom, exceptional stamina and heroism which helped Greeks establish an independent state between 1821 and 1830. Greeks had long felt oppressed as subjects of the Ottoman empire. One of them called it ‘a tyranny so frightful... neither equal nor comparable to any other and so unjust’.

Unusually for a book about nature, the species in question, in this lucid story of the relationship between birds and humans, is ours. Why catch six million ibises, attractive water birds with curved beaks, plunge them into vats of liquid resin, wrap them in bandages and bury them in vast cemeteries in Middle Egypt in 650 BC? When There Were Birds explains that these ibises were offerings to Thoth, god of knowledge and wisdom. Throughout this story, faith, cash and custom drive humans to behave in astonishing ways towards birds. From the early 15th century we were moving canaries to the Swiss Alps and southern Germany, where breeders might raise 50,000 birds a year, which were then transported and sold across the world. In 1871 America alone bought 48,000 as pets.

‘I went into show business to make a noise, to pronounce myself,’ Mel Brooks told Kenneth Tynan in 1977, in a New Yorker profile entitled, with appalling relish, ‘Detours and Frolics of a Short Hebrew’. ‘I want to go on making the loudest noise to the most people.’ His memoir All About Me! may be his final act of this pronunciation. He is 95. His real name is Melvin Kaminsky but that wouldn’t fit on a drum — a drum is his natural instrument — and he shortened it to Brooks. He was the youngest of four boys of Max and Kate. His father died when he was two, and Mel created Maxes wherever he could — Max Bialystock in The Producers, a man too vivid to be forgotten; and a son with Anne Bancroft, Max Brooks.

From Ladybird’s The Story of Music (a dinky 50 pages, generously illustrated) to Richard Taruskin’s five-volume epic The Oxford History of Western Music, the history of classical music has been sliced and stretched in print to fit every possible length, format and agenda. Andrew Gant’s Five Straight Lines joins the cluster of works jostling and elbowing at the midpoint of these extremes. The Oxford-based academic (whose previous books on carols and hymns have introduced us to a genial, approachable narrator, with a welcome glint in his eye), shouts no provocative argument or USP from his cover, makes no novel claims for his survey. This is, quite simply, a narrative of music from the beginning to the now.