Culture

This is not a rip-roaring, gonzo gambling adventure. By page 66 this cautious, thoughtful author has still never played a hand of poker in her life. She has read, re-read, dissected and annotated poker textbooks. She has scribbled notes while trying to keep up with her power-walking mentor, the poker legend Erik Seidel, as he tells her she’ll need to develop the ability to be reckless. This is a swot’s progress, a fish-out-of-water experiment. It’s hard to imagine her taking on, say, Devilfish in Vegas. As she finally joins a charity tournament on page 115, I’ll admit to thinking, this had better go somewhere. And it does. Within 18 months she has turned pro, recruited by Poker Stars after winning an $84,000 trophy and another $60,000 game.

A decade ago — eheu fugaces labuntur anni — Stuart Evers’s debut story collection, Ten Stories About Smoking, was one of the first books I ever reviewed, and I’ve kept tabs on his career ever since, in that spirit of comradely competitiveness one feels for a writer of a similar age launching at the same time. I spoke warmly of his first novel If This Is Home and enjoyed his second collection, Your Father Sends His Love, when it appeared in 2015. But there was nothing in those earlier works to prepare me for the scale and ambition of The Blind Light. This extraordinary novel about Britain and Britishness spans six decades and uses the stories of two men and their families to delve revealingly into complex questions of class, fate and history.

There’s a kind of writing about LA that I am a sucker for. Gossipy, lyrical, with a surface of affectless simplicity but an undertow of melancholy that can be personal (bad love affairs, damaged families) or institutional (the death of old Hollywood, the birth of the new) or, best of all, both entwined. It is reserved in its affiliations, not susceptible to moral fervour, lightly amused by what it observes but not given to wisecracking (it is not Nora Ephron, who I am a sucker for but in a different way). It has the measure of the city’s miraculous lucency and compulsive self-invention. Joan Didion did it; Eve Babitz specialised in it.

This book could not have been published at a better time — nor, in a way, at a worse time. Better, because we are now living with the threat of disaster looming over us and society is being radically transformed; worse, because the apocalyptic scenarios Mark O’Connell writes about include such quaint, marginal topics as catastrophic climate change, nuclear devastation and the concern of ‘preppers’. These are the men who build bunkers in the countryside and fill them with enough tins of protein sludge to keep them going through whatever unspecified calamity brings about the end of the rule of law. There’s not a great deal here about a global pandemic. That said, there doesn’t have to be.

History is only as good as its sources. It is limited largely to what has survived of written records, and in prehistory to random fragments unearthed by archaeologists and paleontologists. Climate history is no different. As the effects of global warming accelerate, it becomes ever more urgent to reassemble what we can of the atmospheric conditions of the past to gather evidence from wherever it may be. Glacial ice cores are one place, with their frozen snapshots of long-ago air and traces of ash and pollen and greenhouse gases such as carbon dioxide or methane. Other climate proxies include the annual accretion of stalagmites, the growth of corals and the incremental layers of bone in the ears of fish.

What does Jony Ive, the designer of Apple’s iPhone, have in common with Peter Perez Burdett, the first Englishman to produce aquatints, and Ann Williams, a postmistress who bred silkworms at her home in 18th-century Gravesend? The answer is that they all received awards from the institution known today as the Royal Society of Arts. Ive bagged a £500 travel bursary for creating a futuristic telephone nicknamed the Orator; Burdett earned £100 for a detailed map of Derbyshire; and Williams collected a 20-guinea prize for her observations about the lepidoptera she mistakenly called ‘dear little innocent reptiles’. As Anton Howes demonstrates in this lucid and scrupulously researched history, such bounty is the raison d’être of the RSA.