D.J. Taylor

Anthony Powell always maintained that readers who disliked his early books did so on essentially non-literary grounds. Conservative reviewers of the 1930s, irked by the party-going degenerates of a novel like Afternoon Men (1931) did not believe that such people existed. If, on the other hand, they did exist then novels ought not to be written about them. The same danger has always lain in wait for Hanif Kureishi, whose fiction — whatever one might think of his prose style — has always been weighed down by the almost supernatural dreariness of the characters who wander about in it. We first met Kureishi-man as long ago as The Buddha of Suburbia (1990).

Tugging the review copy of Granta 100 out of its jiffy bag, I decided to conduct a little experiment. I would write down the names of the writers whom I expected to find in it and award myself marks out of ten. Two minutes’ thought produced the following: Martin Amis, Julian Barnes, Ian McEwan, Salman Rushdie, Alan Hollinghurst, Hanif Kureishi, Kazuo Ishiguro, Jay McInerney, Jonathan Safran Foer and Zadie Smith. Two more minutes with the contents table, scrupulously ignoring Zadie Smith who doesn’t contribute a piece but takes part in one of the features, produced a score of six.

An exhausting life it must be, being the hero of a Frederic Raphael novel. There you are, writing your bestselling books, finessing those Hollywood film scripts that pile up on your doorstep like fallen leaves, pondering those offers to sit on the boards of TV companies and wondering all the while what the nasty man in the Times Literary Supplement is going to say about you, and then alongside floats a whole convoy of merely human dilemmas craving resolution. The sister of your dead college chum wants a saucy threesome, the admiring fan met in Venice murmurs, ‘I would do anything to spend time with you’, while the wife of your bosom, a quarter of a century soignée, and not to be outdone, opens the door stark-naked with a cry of ‘Special offer!

Much of The Painter of Battles takes place in a crumbling watchtower on the Spanish coast, its silence broken only by the respectful commentary issuing from the daily tourist boat. Here on the circular wall of the tower a veteran war photographer, Faulques, is painting a gigantic mural on the theme of conflict through the ages: ‘the photo I was never able to take’, he explains. His routines include occasional supply-trips to the local town, morning swims out to sea and back and, less agreeably, ‘a sharp stab in his side over his right hip’ that comes on every eight hours or so and requires dousing with analgesics.

Aldous Jones, the hero of Gerard Woodward’s heroically odd third novel, has sunk into a decline. His wife dead, his only solace the bottle, the retired art teacher sits in the family house in north London brooding over relics of his married life and watching outgrowths of potato tuber lavishly uncoil from one of the kitchen cupboards. None of his three children seems much help: journalist Juliette, who lives in Holland Park with a quiz-obsessed political correspondent, occasionally steps round to nag; unforthcoming Julian works on the Channel ferry to Ostend; anthropologist James has recently married an Amazonian tribeswoman. With its fragmentary allusions to the London Evening News and the Falklands War, A Curious Earth eventually displays a grounding in the early- to mid-1980s.

Q: How to write imaginatively about the developing world? The old Naipaul-style methods of tragicomic ironising seem to be on the way out. Magic realism, where the butterfly clouds float reliably over the parched savannah, is not what it was. On the other hand, allegory-cum-fable — a tradition that extends at least as far back as J. M. Coetzee’s Waiting for the Barbarians (1980) — is still going strong. Joining it on the rails is what might be called the documentary approach, in which great stretches of past, post- colonial time are populated by characters who, whatever their individual quirks, are above all representative of the historical currents flowing around them.

The most affecting moment in Gordon Burn’s new book is only marginally connected to its subjects. Borrowed from Jackie Milburn’s autobiography Golden Goals, it takes in a long-ago Christmas morning when the future England centre-forward woke in the small hours to discover a new pair of football boots — the first ever allowed him — lying among the presents. The temptation was too much to resist. At 3.30 a.m. Milburn let himself silently out of the house to find most of his friends, all wearing their festive sporting gear, ‘playing football by torchlight in the middle of the street’. Best and Edwards offers plenty of twitches on this lost, prelapsarian thread.

As a late Seventies teenager, I was exposed to two distinct brands of American humour — or ‘yomour’ as it tended to be pronounced — each diametrically opposed to the other. One was the Bob Hope school of urbane wisecrackery that drifted over the Radio Two airwaves on Saturday mornings while my father sat approvingly by. The other was the opening salvo of NBC’s Saturday Night Live, then featuring Dan Aykroyd, Chevy Chase and the late John Belushi and Gilda Radner; never broadcast on this side of the Atlantic, alas, but periodically written up in that hip young person’s bible, the New Musical Express.

Not long ago I listened to a Radio Two interviewer interrogating Kate Bush about her new album. The particular track that had excited his interest was ‘Mrs Bartolozzi’, a puzzling little number about a woman who sits watching the clothes fly by in her washing machine. What was it all about?, he wondered. Ms Bush, famously Delphic in conversation, gave nothing away. ‘Perhaps,’ she suggested, ‘it’s about Mrs Bartolozzi.’ For some reason I thought about this exchange while working my way through Haruki Murakami’s bumper selection of short stories. A representative offering from Blind Willow, Sleeping Woman, a career showcase going back to the early 1980s, might be ‘New York Mining Disaster’. Is it about a mining disaster? Well, no.

Listing page content here Brick Lane, Monica Ali’s first novel, sold a great many copies and was shortlisted for the Man Booker Prize. It was also criticised by those guardians of the public conscience who write letters to newspapers on the grounds of cultural tourism. Despite her impeccable Bangladeshi origins, these detractors alleged, the Oxford-educated Ms Ali was clearly unqualified to write about the realities of life in the polyglot East End. No doubt one or two of the same criticisms will be levelled at her choice of a sequestered Portuguese village as the setting for novel number two. For all the modesty of its style and some highly uncontentious subject matter, Alentejo Blue is a risky enterprise.

The people in Rose Tremain’s brisk short stories tend to be hooked on highly symbolic artefacts. Thus the East German border guard of ‘The Beauty of the Dawn Shift’, cycling off to illusory salvation in Russia, takes with him a solitary lemon, ‘a precious possession’ turned up in an otherwise fruit-free grocery store. A middle-aged woman working in a Norfolk haberdashery shop covets the unclenched wooden fist of the glove display. The chef in ‘Nativity Story’ nurtures a gleaming oyster shell which he aims to bestow on his absent son. Our minds, as asylum resident Victor in ‘The Ebony Hand’ informs his anxious sister-in-law, are ‘held together by peculiar things’. The Darkness of Wallis Simpson is full of peculiar things.

One of the more amusing characteristics of the English upper classes is their habit of going around disclaiming their upper-classness. Just as Anthony Powell, a lieutenant-colonel’s son educated at Eton and Balliol and married to an earl’s daughter, used quite seriously to maintain that he was ‘a poor boy made good’, so Jonathan Gathorne-Hardy, an earl’s grandson whose father was a Harley Street physician in the inter-war era, spends a large part of this highly entertaining memoir explaining that he is actually deeply middle-class. The general effect is rather like an Edwardian stage play in which the dinner-jacketed exquisite turns out to be a cockney burglar in disguise.

I will cheerfully own to having struggled in the past with Ronald Frame’s novels. Brooding once over a stack of photographs brought back from a fortnight’s holiday in Kerry, I realised that lurking among the margins of practically every snap — here flung down on a bathing-towel, there wedged beneath the picnic basket — was a copy of Penelope’s Hat, read at an ever more slower rate, and ultimately very nearly chucked into the Atlantic. Frame’s short stories, on the other hand, are a different matter.