Culture

When the British formed the basis of their empire in the 1600s by acquiring territories in India and North America, they already had many centuries’ experience of foreign involvement. One of the most remarkable aspects of the force that reshaped Eurasia 1,000 years earlier is that there was no prelude: the Arab conquests, and the Islamic empire that they created, came out of nowhere. By the time of the death of the Prophet Mohammed in 632 most of the tribes of the Arabian peninsula had united under the banner of Islam, some out of faith, others from expediency. But few people outside Arabia knew who Muslims were or worried about the threat they might pose.

A great writer must be prepared to risk ridiculousness — not ridicule, although that may follow, but the possibility that the work will collapse into some or other version of nonsense. If it doesn’t, though, it is precisely the elements that flirt with disaster that will likely make it both superficially distinctive and artistically substantial. For the novelist and memoirist Rachel Cusk, whose most recent creation, the ‘Outline’ trilogy, attempted a savage blending of the two forms, risk comes frequently in the form of sailing dangerously — and, for her admirers, thrillingly — close to the parodic.

Ezra Pound in ABC of Reading: ‘Dichten = condensare.’ Meaning poetry is intensification, ‘the most concentrated form of verbal expression’. Simon Armitage saying the same thing, memorably, genially, metaphorically, democratically: ‘How much power and force could be stored in — and retransmitted by — such compact shapes. Poems as the Duracell batteries of language.’ Both poets go straight to the point. But a shift has taken place — in tone, in attack — which can be illustrated also by the photographs Armitage found as a ‘sleep-walking’ teenager leafing through Worlds, a sampler of seven contemporary poets, edited by Geoffrey Summerfield: ‘Norman MacCaig watched television and smoked fags.

Real Estate is the third and concluding volume of Deborah Levy’s ground-breaking ‘Living Autobiography’. Fans of Levy’s alluring, highly allusive fiction will appreciate the insights into her life; moreover, anyone with an ounce of curiosity will be fascinated by her compelling tour of city streets, island rocks and meandering diversions into ideas from a wealth of writers and artists. We begin the book with the author buying a plant from a flower stall. (Our modern-day Mrs Dalloway purchases a banana tree in Shoreditch rather than cut flowers in Westminster.

Charles Péguy’s adage that everything begins in mysticism and ends in politics is sharply illustrated by the development of the Irish Revolution. In his previous scintillating studies, Easter 1916: The Irish Rebellion and The Republic: The Fight for Irish Independence 1918–1923, Charles Townshend traced the progress of Ireland’s long-drawn-out severance from Britain. The completion of the trilogy is delivered with his characteristic scholarly panache.

When it comes to biography, some authors draw the punters, and others leave the mob cold. D.H. Lawrence has been written about a lot, from the moment he died. At least ten memoirs were published in the five years after his death by authors ranging from his sister and his wife to patrons such as Mabel Dodge Luhan. More followed, and only professional Lawrence scholars will have read all of them. There must be dozens of them, and some, such as the Cambridge three-volume effort by different authors, are immensely long. By comparison, there are only a handful of full-scale lives of James Joyce, and poor old Arnold Bennett has only one (excellent) biography, by Margaret Drabble. What is it about Lawrence that draws them so?