Ian Thomson

Ian Thomson is the author of books including Dante’s Divine Comedy: A Journey Without End.

A time of zero tolerance

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Born in 1956, Ronan Bennett is a Belfast writer of great gifts. His last novel, The Catastrophist, was a tense parable of conscience set in the Belgian Congo at the time of independence in 1960. Havoc, his fourth book, unfolds in 1630s England in the years prior to the Civil War. While Graham Greene is clearly an influence (notably his portrayal of Catholic martyrdom in 1930s Mexico in The Power and the Glory), Bennett is his own man. No one today writes with such sombre clarity of divided loyalties and shifting political allegiances. A small town in northern England is menaced by Irish vagrants and other imagined ‘Romish’ undesirables. In a panic, the town fortifies itself with harsh Puritan laws and sets out to torture and execute presumed subversives.

God’s expeditionary force

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In the 16th century Montaigne voiced the fear that missionary endeavour — the white man’s ‘contagion’ — would hasten the ruin of the New World. Though Jesuits played their part in the spoliation of the Americas, only the most romantic could claim that Indian tribes there lived in a state of prelapsarian grace, so artless, happy and free. Brian Moore, in his marvellous novel Black Robe, portrayed 1640s Canada as a Huron backwater, where French Jesuits were in danger of being scalped and fur-trappers disembowelled. As Jonathan Wright makes clear in this informative history of the Society of Jesus, the earliest Jesuits were regarded as not quite regular clergy.

Nightmare in the Caribbean

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Shortly after Christmas I went to Haiti for the first time in 13 years. The collapse of the Aristide regime was still two months away, but the Caribbean republic was already descending into chaos. At the airport of the capital, Port-au-Prince, the familiar smells of drainage and burning rubbish hit me forcefully and it was as though I had never been away. Haiti’s history — a vicious cycle of coups d’états — had not changed either. Last Sunday the airport was the scene of a hurried departure as Haiti’s President, Jean-Bertrand Aristide, flew out of the country into exile. In an armed uprising backed by the US, he had been deposed by former death-squad commanders and ex-military.

Learning the hard way

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Joyce Carol Oates is a prolific, even prolix writer, with more than 50 novels and short-story collections to her name. Yet she writes wonderfully of life's uncertainties and of American reality in the raw. In her latest novel, I'll Take You There, Oates returns to her old themes of violence, madness and sexual passion. The plot has many devilish twists, lurching along like a gothic raree-show. We are in upstate New York in the early 1960s; a 19-year-old girl, Anellia, is studying philosophy at Syracuse University. Tiny and timorous, she is vulnerable to ridicule, and indeed her sexual and social awakening is to be troubled by bullies. A swot, Anellia boards in a tottering mansion amid her books on Plato.

Stooping to conquer

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Anthony Lane has been film critic for the New Yorker since 1993, and the light lash of his humour is waspish and urbane in its New Yorker-ese. Nobody's Perfect, a collection of his film and literary criticism, including author profiles and essays, is a glory. Throughout, Lane upholds the sterling virtue of good writing combined with wit and emotional engagement. But he makes no claim to be right about anything. 'Nobody's perfect', as Osgood Fielding III chuckles in Some Like it Hot. Lane is a 40-year-old Englishman who knows the work of every American writer and director from Hawthorne to Preston Sturges. And to judge by his zingy prose, he has a taste for the New Yorker's old stalwarts E. B. White and James Thurber.