The good, the bad and the ugly in books, exhibitions, cinema, TV, dance, music, podcasts and theatre.
The English cannot be understood without some appreciation of their attachment to their games, and yet this is an area of their story often overlooked by historians. Or perhaps it is simply considered beneath their interest. This is the central message of Robert Colls’s superb account of England viewed through the medium of its sports and pastimes.
This debut novel, which opens with ‘a high- school lacrosse party in 1999 and the rumour of a sexual assault,’ is billed as one story told in four different genres: memoir, horror, noir and thriller. It even has four covers. There is a reason for this, as Kate Reed Petty explains in an author’s note: In borrowing these forms from popular culture, I was looking for ways to push against the simplistic assumptions we too often make about power, abuse and gender — assumptions that lock us into the same stories, again and again and again. She raises certain questions. Who does a story about assault belong to? Whose version is most likely to be believed? Can the way it is told be damaging? Is the version that is true for one person necessarily true for another?
On 27 November 1960 African and Indian diplomats visiting the UN in New York opened their mail to find a leaflet from the Ku Klux Clan: A foul stench spreads out from the East River and hangs over New York like a pall — the greasy sweat of the Black Races and the Yellow Races of Asia which have invaded the United Nations. It is enough to make every White Protestant American vomit. It ended with a threat: the delegates better stay close to the UN buildings and the ‘brothels of Harlem, and not defile the hotels and restaurants of the White City’. FBI officers investigating the correspondence noted a couple of oddities. First, some of the language was off: it called for delegates to be ‘tanned and feathered’ rather than ‘tarred and feathered’.
Just imagine: you reach a certain age and you become your own unreliable narrator. Gerald Walker, the protagonist of Richard Francis’s 12th novel, is a retired history professor who fears that ‘chunks of his life might go missing’. Laura Laura describes a year in his life which, in seamless flashbacks, encompasses most of his past. It opens with Gerald’s late-night encounter with a homeless, possibly suicidal, waif called Laura. She revives his suppressed memory of a previous Laura, a research student with whom he’d had an illicit fling, best forgotten.
For more than 100 years Paris has been as much a symbol and a myth as a geographical reality. The enchantment dates back to the end of the 19th century, when ‘le bordel de l’Europe’, in words quoted by Marie-José Gransard, was transformed into ‘la capitale de l’amour’. In Twentieth Century Paris she traces the growth of the community of mostly foreign artists and writers who created this international brand. By the 1890s Paris had recovered from defeat by Prussia and the atrocity of Bismarck’s bombardment in 1870 and had become the capital of more than ‘l’amour’.It ran a colonial empire powerful enough to deprive the Kaiser of his ‘place in the sun’.
One of the strange effects that modernist, progressive society has had on what the French Annales school would refer to as our civilisation’s mentalité is the almost complete attenuation of memory about what the crusades were, why they were fought and what part they played in a multi-century struggle between two successful, expansionary and universal religions. Though this struggle is still being waged today, we’ve become expert at not noticing it. Even at the level of military history, the crusaders have been written off with a hastily scribbled judgment that amounts to: ‘Invaded the Middle East and captured Jerusalem. Eventually driven into the sea by the brilliant generalship of Saladin.’ In 1954 Major General J.F.C.
Whatever would Robert Johnson, self-styled King of the Delta Blues, have made of the Black Lives Matter movement? His was certainly a life that mattered, but it was lived at a time when black lives mattered not a jot to white America. The circumstances of his death in 1938, at the age of 27 (he was probably poisoned by a jealous rival), demonstrate the disenfranchised existence of any peripatetic black performer in Depression-era USA. The murder was never investigated and his body was dumped in an unmarked grave.
I can think of few novels as bleak or dispiriting as Yiyun Li’s 2009 debut, The Vagrants. Set in a Chinese industrial town in 1979, it opens with one woman’s death and closes with another. The pages in between are jammed with misery meted out by scalpel: treacherous friends, underfed children, craven officials, all have their turn upon the stage, while school choirs sing unfalteringly in praise of the communist party. Her latest book, Must I Go, is more cheerful, if only by a whisker. It’s the first time Li has set a novel squarely in her adopted America, with a faded Californian babe as its heroine. Lilia Liska is 81 and thrice widowed. She is spending her final years in a retirement village that she tolerates.
Mordew ain’t the kind of place to raise your kids, as Elton John nearly sang. If they escape the ravages of lung worm, then they could stray into the Living Mud — a foul, oozing substance that spawns barely animate beings called ‘dead-life’. That’s if they avoid being packed off to serve the Master, the city’s Grand Inquisitor, who broods in his Manse, demanding regular tributes of children, his magic twitching throughout Mordew. The world of Alex Pheby’s fourth novel is dizzying. But stick with it, and his splicing of Dickensian social satire and rackety, steampunk fantasy is beguiling. The titular city is exuberantly realised, the sort of setting H.P. Lovecraft and Hogarth might cook up on a mescaline binge.
Bruce Wannell was by some way one of the most charismatic travellers I have ever met. Despite his almost complete penury, he would dress in perfectly tailored cashmere and, with a shawl swept over his shoulder, fix his attentive listeners with a glittering eye and a voice that could sweep dangerously low when he was about to cast aspersions on someone else’s cooking or scholarship. As this affectionate compilation of tributes by friends and admirers shows, Bruce himself ‘not only spoke Persian with a dazzling, poetic fluency, he could also talk in Arabic, Pushtu, Urdu, Swahili, be amiable in Amharic, Spanish and Greek and could lecture in French, Italian or German’.
The concluding novel of Ali Smith’s seasonal quartet is a family affair. Her intergenerational group of seeming strangers from the past three novels find themselves flung together at the eroding eastern edge of England. Daniel Gluck, our centenarian from Autumn, now 104, has been moved out of his care home (thank God, given that we know what’s coming — this is February 2020) and into Elisabeth’s mother’s house in Suffolk. There are some fresh faces too. Sacha and Robert are two children who tag along with Charlotte and Arthur (whom we came across in Winter) to meet him. The children’s parents voted differently in 2016, so now their dad lives next door with his girlfriend, Ashley.
To look upon a freshly painted wall is to behold a smooth surface; to look at it through a magnifier is to see a rough and irregular landscape — but turn the magnification up sufficiently and see it become regular again, a geometric matrix of atoms held in molecular bonds. Keep magnifying and you enter the unimaginably messy realm of the subatomic, a weird place of eldritch geometries and smeared-out, probabilistic motion. The world is smooth and rough, orderly and messy, all at once, depending on how closely you look.
John Giorno, who died last year, was a natural acolyte: he needed a superior being to set him in motion. Part Beat, part hippy, part punk, he was a gay, sexually active poet who tells us that he loved to do it ‘endlessly’. He was therefore very popular among New York’s avant garde, many of whom were gay and passive: ‘I was young and beautiful and that got me what I wanted, and all I wanted was sex. I had all the money I needed; my parents gave me an allowance and paid my bills.’ Such boyish candour sets the tone of this memoir, which is a feast of exuberant emotion and indiscretion.
In supposedly unprecedented times such as ours, there are compelling reasons to turn to the history of medicine. For hope, that epidemics do indeed come to an end; for consolation, that the people of the past suffered even more than us; and for insight into how we could be doing better. The story of smallpox satisfies all three. Imagine an airborne disease such as Covid-19, but one in four people who get it will die. It causes a fever, but also a rash which cloaks the body in disfiguring pustules that fuse into reptilian scales. It leaves its victims, if not dead, scarred or blind. Few agree about why this disease spreads, how the body defends itself, or which treatments work. Nobody has heard of antibodies. Louis Pasteur’s immunological discoveries are more than a century away.
The narrative of an adolescent travelling by water with an older companion, undergoing trials and ordeals, encountering scoundrels and villains, with glimpses of society from high to low as they drift pass: it doesn’t take long before the flavour of this picaresque novel starts to seem hauntingly familiar. In his mid-teens towards the end of the 19th century, Dan, like Huckleberry Finn, escapes from a drunken father, and, though his journey is down the waterways of Europe rather than the Mississippi, the way he silently registers the corruption he sees all around him is deeply reminiscent of his literary forebear.
The novelist, memoirist and film-maker Xiaolu Guo writes with tremendous delicacy and nuance about migration, language, alienation, and love. A Lover’s Discourse is a series of poetic miniatures, sometimes just a page long, following the unnamed female Chinese narrator, living in London to pursue a PhD, and her relationship with a similarly unnamed German-English architect. Some early humour comes from the mutual misunderstandings of two hugely different cultures, as when she mishears Hanover as hangover and is mystified when he describes himself as a Wasp. But these episodes are less farcical misunderstandings than opportunities to muse on the spaces between us all and how words obscure as much as clarify.
The history of rubbish can be scholarship, but the history of scholarship is often rubbish. Hindsight diminishes earlier habits of thought and behaviour, especially when, as with freemasonry, they involve rolled-up trouser legs, coded handshakes and a curious blend of mysticism and matiness. Yet freemasonry was once a radical, even revolutionary, rite — to its adherents a harbinger of egalitarian, middle-class democracy, to its detractors a conspiracy of Jews, satanists and sex addicts. The Craft is a shadow history of modernity. Though more sober than most lodge meetings, it is, like its subject, ingenious and frequently bizarre.
It is easy to forget the abnormality of Donald Trump’s presence in the White House. Before his election it would have seemed unthinkable to have the leader of the free world bragging of being a ‘very stable genius’ on social media, then taunting the despotic ruler of a nuclear-armed nation as ‘Little Rocket Man’ and threatening annihilation of his country. Or for a United States president to lie so frequently and casually that the Washington Post counted more than 10,000 ‘fishy claims’ by the end of last April alone. But we have become inured to Trump’s self-obsessed boasts and infantile tantrums.
Over the past 50 years, M. John Harrison has produced a remarkably varied body of work: a dozen atmospheric novels and five volumes of finely controlled short stories that have ranged from austere realism to operatic fantasy. He is not easily pigeon-holed — an intentional state of affairs, but one that has denied him a large readership. The worlds of his science fiction are truly strange, yet he conjures them with piercing lucidity. For instance, Light (2002) is largely set 400 years in the future. The cosmos Harrison visualises is a place of splintery disruptions, but it is peopled with cruel and slovenly characters whose minds churn in entirely familiar ways.
In the face of authoritarian rule, what is a citizen to do? Some will join the oppressors, while others, such as the diarist of the Nazi era Victor Klemperer, will keep their heads down, hoping the horrors will pass (they usually do not). Some, generally a tiny minority, choose the path of civil courage and resistance, of activity that aims to sabotage the regime. Such acts may take many forms, one being to work secretly from within the new establishment of which you are a part. That was the one taken by Libertas Haas-Heye and Harro Schulze-Boysen, two Berlin intellectuals who fell in love and worked to undermine the Nazi war effort. The story told by Norman Ohler, which is not newly discovered but not well known, is deeply engaging, enticingly written and extremely affecting.
In Russian, the proverb ‘Ignorance is bliss’ translates as ‘The less you know, the better you sleep’. For those who experienced the worst of the Soviet Union’s terrors, this is not just a throwaway adage but a strategy for self-preservation. As Alex Halberstadt’s father — the son of one of Stalin’s former bodyguards — attests: ‘There is no more to be gained from sifting through the past than through cigarette ashes.’ Halberstadt, a Soviet-born American writer, doesn’t agree. Aged nine, soon after leaving Moscow with his family and defecting to the West, he began having a recurring nightmare in which he was chased by a ferocious bulldog, a dream that lingered into adulthood.
Covid-19 has been bad news for writers with books coming out — unless the book is about breathing. We’re all now gripped by our airways, by the significance of a runny nose, a sore throat or chest tightness. We know to dread that once obscure symptom, anosmia. We debate the risks of breathing through two-ply cotton. Thousands of ITU patients delegate their respiratory effort to machines that punch at compliant lungs. The world was winded by George Floyd’s last words: ‘I can’t breathe.’ James Nestor’s fascinating new book is playful and optimistic. Everyone breathes — 25,000 times each day — but few of us are good at it.
Home, as James Baldwin wrote, is perhaps ‘not a place but simply an irrevocable condition’. Sarah M. Broom’s National Book Award-winning memoir The Yellow House is a sweeping social history and condition report of the New Orleans neighbourhood in which she grew up. The youngest of 12 children in a blended household, Broom was born in 1979 in New Orleans East, seven miles from the iconic street lamps and streetcars of the French Quarter. Her mother, Ivory Mae, bought a house in 1961 with insurance money from the death of her first husband. Widowed at the age of 19 with two children and one on the way, Ivory Mae attended night school to obtain her diploma and worked as a nurse’s aide to support her family.
Keith Douglas is perhaps the best-known overlooked poet. He died following the D-Day landings in 1944, and his Collected Poems were published in 1951, followed by a Selected Poems in 1964. ‘Now, 20 years after his death,’ wrote Ted Hughes in his slightly puffy introduction to that volume, ‘it is becoming clear that he offers more than just a few poems about the war.’ There was a thorough and clear-sighted biography by Desmond Graham in 1974, followed in turn by further editions: another Collected Poems, prose fragments, a memoir, and his surprisingly boring letters. Yet Douglas continues to be the kind of poet older writers like to present with a flourish as an insider tip: oh, you must read Keith Douglas.
All it takes to turn a cast-off into a prized possession can be a bit of imagination. To a passerby, a bookcase left on the pavement might be perfect for that impossible-to-furnish alcove. An empty bottle, once the waves have worn it smooth, could become a precious jewel for a beachcomber. In an instant a bored child will fish a piece of cardboard from the bin and transform it into a rocket, raft or portal to another dimension. One man’s rubbish, as we know, is another man’s treasure. The subject is explored in Rag and Bone by the photographer Lisa Woollett, who has a personal connection with discards. Her grandfather was a dustman and her great-grandfather a professional scavenger on the Thames foreshore.
The montane forests of far-eastern Russia have given rise to one of the finest nature books of recent years, The Great Soul of Siberia. In it the Korean cameraman Sooyong Park describes his quest to document the life of the region’s Amur tigers, evoking both his totem beast and its remarkable landscape in loving detail. Jonathan Slaght is an American author, cut from the same cloth in terms of the sheer grit required to cope with the sub-zero temperatures and gloomy, snow-entombed winter woods of Siberia. Nearly 20 years ago he embarked on a similarly arduous mission, not to study the world’s biggest cat, but its largest owl, a ten-pound beast called Blakiston’s fish owl (Bubo blakistoni), named after the English naturalist Thomas Blakiston.
Tim Parks is a seasoned, incisive observer of football, the railways, work, domestication and plenty more in his adoptive country of half a lifetime. What is, what ought to be and the machinations in the delta between provide much of his material. In this tale of two countries in one, bright, hard-working Valeria leaves Basilicata in southern Italy to study communications and marketing at a private university in Milan — shiny subjects in a city of business a long way from home (the same distance could take her to Tunis or Belgrade). She arrives laden with bread, pastries, fruit and wine, given to her by three aunts at railway stations on her journey. Her family and her circle of friends are all from the south, but she wants her life to be in the north.
The cosiest way to read The End of Everything, Katie Mack’s fast-paced book about universal death, is as a murder mystery. Everything in spacetime, including the reader’s understanding of much of the story, is in the shadows. Black holes, quarks and gluons, Cepheid variables, the Concordance Model? Mere words, strewn across the floor. Believability, restraint and common sense? Left at the door. In the middle of the carpet is our butchered universe. How did it die? Squashed (‘The Big Crunch’)? Boiled (‘Heat Death’)? Eviscerated (‘The Big Rip’)? Burst apart from every pore (‘Vacuum Decay’)? To one side, almost dancing with excitement, is Inspector Mack, a theoretical astro-physicist at Carolina State University.
Some faint hearts may sink at the idea of a torrid Swedish family drama peopled with nameless figures identified only as ‘a grandfather who is a father’, ‘a sister who is a mother’, and so on. Stick around: this gets better. That grandfather, an immigrant trader who ‘could sell sand to a beach’ or ‘wind to a hurricane’, remembers his first taste of Swedish TV: a child- ren’s programme featured ‘two different coloured socks with sequins for eyes’ discussing ‘how vital class struggle was for a happy society’. Later, after the long-distance skating, came ‘a documentary about Latin American poets or Ukrainian beekeepers’.