Ian Thomson

Port Antonio, in Jamaica, radiates a torrid, hothouse air. At night the inshore breeze smells faintly of bananas. Port Antonio was once Jamaica’s chief banana port, shipping out an average of three million bunches of ‘green gold’ a year. Harry Belafonte’s greatest hit, ‘The Banana Boat Song’, was sung by Port Antonio dock workers at the break of daylight when their shift was over. You know the song. The workers are tired and they want the day’s banana haul to be tallied and paid for: ‘Come, Mister Tally Man, tally me banana.’ Belafonte, an American of Jamaican heritage, understood the poverty of Caribbean life.

The long summer that led up to the last days of peace in Europe in 1939 — the vigil of Hitler’s assault on Poland and the subsequent Phoney War — gave little hint of the storm to come. As German troops engulfed Poland, however, Britain at last declared war on Hitler. Infamously, the Nazi science of massacre was put to the test in occupied Poland. Within two months of Hitler’s invasion, over 5,000 Jews were murdered behind the Polish lines. One year into the occupation a ghetto was established in Warsaw as a holding place for Jews prior to their deportation and death. A total of 265,000 of the city’s Jews were gassed over a single summer at Treblinka nearby. It was the largest slaughter of any single community in the second world war.

Raylan Givens, an ace detective in the Raymond Chandler mould, has encountered just about every shakedown artist and palooka in his native East Kentucky. His creator, Elmore Leonard, is a maestro of American noir; Raylan (Weidenfeld, £18.99), his latest thriller, presents a familiar impasto of choppy, street-savvy slang and hip-jive patter that verges on a kind of poetry. Typically, Raylan charts a murky underworld where criminals are in cahoots with politicians, and where murder is a consequence of this corruption. In his curl-toed cowboy boots, Federal Marshal Givens is summoned to investigate a case of trafficking in human body-parts. A man has been found moribund in a bathtub with his kidneys apparently removed by surgery.

At a funeral in New Orleans in 1901, Joe ‘King’ Oliver played a blues-drenched dirge on the trumpet. This was the new music they would soon call jazz. A century on, from the hothouse stomps of Duke Ellington to the angular doodlings of Thelonious Monk, jazz survives in the vocal inflections of rap. To its detractors, rap presents black (increasingly, white) people to the world in terms the Ku Klux Klan might use: illiterate, gold-chain-wearing, sullen, combative buffoons. (‘Life ain’t nothing but bitches and money’, harangued the Los Angeles combo N.W.A. in a reversal of Martin Luther King’s ‘black improvement’.) Yet Bob Dylan had offered an early version of rap in ‘Subterranean Homesick Blues’; rap has its pedigree.

Stephen King’s latest novel is a time-travel fantasy about the assassination of John F. Kennedy. At almost 750 pages, 11.22.63 is drawn-out even by blockbuster standards. Critics have bemoaned its surfeit of period detail (bobby socks, Hula Hoops, big-finned cars). I rather enjoyed it. King, now an august-looking 64, is a writer of towering cleverness, whose fiction manages to appeal to a reading public both popular and serious. Much of what passes these days for literary fiction is mere creative writing. Give me genre fiction (John le Carré, Martin Cruz Smith) any day. A fiction without a story — Kings knows — is scarcely worth its weight in paper. Before King was the emperor of bestsellerdom he studied English at the University of Maine (his birthplace). 11.22.

In 1971, at the height of the Indo-Pakistan war, my parents took me with them to Bombay. I was ten and it was my first trip abroad. My father worked for Brooke Bond, and had ‘tea business’ to attend downtown. First we checked into the Taj Hotel. On the waterfront, beggar children with lurid wounds and deformities were shaking tins at passers-by. The poverty unsettled me. The Taj was swank, I could see that, but outside all was dirt and destitution. (At a cinema nearby, jarringly, Carry on Loving was being advertised as the comedy ‘fillum’ sensation of the year.) Over dinner, my parents explained that Bangladesh, formerly East Pakistan, was under attack. Bombay seemed strange enough to me.

Iain Sinclair, the London novelist and poet, is always on the move. From the industrial sumplands of Woolwich to the jagged riversides of Gravesend, he rakes unfrequented zones for literary signs and symbols, locations of forgotten films and other arcana. His previous book, Hackney, That Rose-Red Empire, revealed that Joseph Conrad had been a patient in the German Hospital in Dalston. Whenever I drive past that hospital (now converted into private flats), it resonates with the presence of the Congo-sick Polish author. Typically, Sinclair explores London on foot, gathering all kinds of off-piste detail as he does so.

In the autumn of 1984, after an unexplained fall, I found myself in a hospital in Rome acutely head-injured and disorientated. I had been found sprawled on the floor of my flat on Via Salaria; the police suspected an intruder, yet nothing apparently was stolen. Bloody handprints covered the walls where I had tried to steady myself. I was 23 and newly arrived in Rome to work as a journalist and teach. Later, I regained consciousness outside a latrine on the sixth floor of San Giovanni hospital. A group of nuns with elaborate bird-like coifs swished past, each bearing a carafe of white wine. So I was in paradise — or perhaps a Fellini movie. (The carafes turned out to contain urine samples.) The nuns acted as paramedics, owing to a shortage of trained nurses.

For Peter Ackroyd, the subterranean world holds a potent allure. London Under, his brief account of the capital’s catacombs and other murky zones, manages to radiate a dark mystery and sulphur reek. ‘There is no darkness like the darkness under the ground’, Ackroyd announces, like a Victorian raree-show merchant. This is an entertaining if slightly daft book, that reveals what a weird world lies beneath our feet. Whether Ackroyd has actually been to all the places he describes is uncertain. Journalists have contorted themselves through narrow, stinking cave-galleries and risked leptospirosis from rat urine in their quest for London subterranea. But the stately Ackroyd? The London sewers are vividly described here.