Culture

For eight years I rented a small house in Oxford overlooking the canal. The landlord, a poet and novelist younger than myself, had moved with his family to New Mexico. At his desk I managed to write three books, beneath shelves containing editions of his work. I can’t explain why it took me so long to reach up and open those books, but when I finally did, it was extraordinary to discover how similar were our trajectories: same prep school and university; two young sons; novels set in North Africa and Peru; a gap year working on an Argentine estancia. Until that moment, I had cultivated a self-protective disconnect with my landlords, hardly unique, indeed part of a tradition — rather like V.S. Naipaul behaved towards Stephen Tennant when living in Wilsford.

What makes a city? The collective labour of millions packed into its history; the constant forgetting of incomers who arrive to create their own version of a place, their own versions of themselves; the desires of great men, whose improvements are partly intended to secure a better life for their less fortunate fellows, and partly a plea for their own immortality. This is a novel about all three, disguised as one about Andrew Haswell Green. According to one of the few memorials to him still standing, he was the ‘Directing Genius of Central Park in its Formative Period’ and ‘Father of Greater New York’.

What’s so serious about a red nose? How should we analyse the ‘specific socio-historical relations’ and ‘aesthetic trends particular to geographic context’ of the circus? How can we ‘codify’ equestrian performance in the ring? With the publication of The Cambridge Companion to the Circus, this artform has tumbled out of the Big Top and into the library and lecture hall. It’s a recent arrival to lofty, learned spaces. When Vanessa Toulmin of Sheffield University, widely regarded as the world’s leading expert on circus and fairground history, first ventured into academia, she did so under the guise of an ‘early film historian’, as circus wasn’t regarded as worthy of study.

Keith Ridgway’s seventh book is a sultry, steamy shock of a novel, not least because nine years ago, despite the critical success of Hawthorn & Child, he retired from writing, telling his publishers he was done with making up stories. He also stopped reading — although only for a year, lured back by the likes of Muriel Spark and Georges Simenon’s Maigret series. Reading made him want to write again. The result is A Shock, a provocative collection of nine interlinked stories, jostled together like neighbours on a London street or regulars in a pub, which is where most of his characters cross paths. The composite form, popular with the likes of Polly Samson, Jennifer Egan and David Szalay, creates something stronger than its parts.

When she was 22, Olivia Laing had a sensual epiphany in Brighton. She’d been drawn into a herbalist’s massage parlour by the sign outside claiming that headaches, anger, depression and colds — in fact any symptoms at all — were caused by stuck energy from past traumas that body psychotherapy could release. ‘The idea of the body as a storage unit for emotional distress excited me,’ she writes. Just as well she didn’t present with cancer or the symptoms of Covid. At the time, Laing’s body was, she thought, a cataclysm of inaccessible traumas: ‘I was so rigid and stiff I flinched when anyone touched me, like a mousetrap going off. The massages of Anna, a herbalist, helped.

Serena Williams is not exactly an elegant tennis player — her game is based overwhelmingly on raw power — but one of her shots is an exception. Her serve is not only one of the most destructive strokes in tennis, it’s also one of the most beguilingly beautiful. Her action begins slowly, even ponderously — as if her limbs are reluctant to emerge from stillness. But from this heaviness comes a sudden gathering, an explosive acceleration, as racket, arm, trunk and legs are flung up in unison towards the ball. Gerald Marzorati devotes a couple of pages to Williams’s serve in Seeing Serena, and he points out something I’d never noticed, which is how ‘effortlessly smooth’ her ball toss is.