Joanna Kavenna

We live in a world in which nuance is trampled on and cannot survive. Is that true? I don’t know. But the further point is, must authors now preface their novels with introductory letters, in which they carefully explain the central themes of their work? Epistolary prefaces in general are not remotely new: you often find editors and publicists addressing readers with disinterested solicitude. (‘We care about you dear reader and only want the best for you, Buy this book’). Of course, Jane Smiley, the Pulitzer-prize-winning author of such novels as A Thousand Acres and The Greenlanders, is entitled to communicate with the reader in any way she likes.

Polar explorers are often cast as mavericks, and this is hardly surprising. The profession requires a disdain for pseudo-orthodoxies and, besides, the urge to dwell on a frozen ocean or forbidding glacier is maverick in itself. In the so-called Heroic Age (the late 19th and early 20th centuries) both Poles remained ‘unconquered’ and the margin between glory and opprobrium was slender. Frederick Cook and Robert Peary claimed that they reached the North Pole in 1908 and 1909 respectively. Their accounts were later discredited. When Roald Amundsen beat Captain Robert Scott to the South Pole in 1911, he was accused (unfairly) of concealing his plans and was summarily shunned by the British establishment. Scott meanwhile forced his expedition on, but in doing so condemned it to disaster.

I suspect travel writing was once a fairly simple business: the author travelled somewhere, the reader did not; the author explained what the place was like and the reader was duly informed and even entertained. Dr Uno von Troil, for example, went to Iceland in 1772 and served up lurid descriptions of the devil holes and lairs of Beelzebub (geysers). None of his readers had been to Iceland; no one was inclined to argue with Uno von Troil. Later, with the advent of mass travel in the 19th century, Uno von Troil’s former audience could go by steamer to Iceland (or ‘Hell’) and witness the infernal pools themselves.

On 12 April 1945 the Berlin Philharmonic gave its last performance. The atmosphere in Germany was apocalyptic, the Allied invasion was expected at any moment. The concert playlist had been devised by Hitler’s architect, Albert Speer, and included Brünnhilde’s last aria and the finale from Wagner’s Götterdämmerung, the ‘twilight of the gods’. There were reports that members of the Hitler Youth offered the audience cyanide capsules at the end. Such was the grotesque theatre of the Nazi death cult; Speer was chief set-designer for the Reich, devising the Nuremberg Parade Grounds and the megalomaniacal concept of ‘Ruinenwert’ (‘ruin value,’ or buildings that decayed ‘well’.

One more anniversary, one more cache of commemorative books. This time we are celebrating the half-millennium since Niccolò Machiavelli produced his notorious work, The Prince. He wrote it after a significant career blip in 1512, when the Florentine Republic fell and the Medici regained power. Machiavelli was not merely sacked from his job — secretary to the Republic — but also accused of conspiracy, imprisoned and horribly tortured. In 1513, he was released into exile, and went to live on his family farm, south of Florence. There he walked, consorted with ‘vulgarity’ (the locals) and read classical writers, including Livy, Tacitus, Sallust, Plutarch, Suetonius and Procopius.

Within a few years, and in four books — The Emigrants (1996), The Rings of Saturn (1998), Vertigo (1999) and Austerlitz (2001) — W. G. Sebald achieved a reputation as a major international author. He was tipped for the Nobel, seen to supply heartening proof that ‘greatness in literature is still possible’ (John Banville) and that ‘literary greatness is still possible’ (Susan Sontag). Literary greatness it seemed, at times, was Sebald, and for a while after the publication of The Rings of Saturn, it was hard to find a work of fictive non-fiction that wasn’t riddled with grainy photographs of dubious quality integrated into the text.

This book, as the subtitle explains, makes a bold claim: Griffith Pugh was the ‘unsung hero’ of the 1953 ascent of Everest, his achievements neglected and nearly lost to posterity. Harriet Tuckey is Pugh’s daughter, so this assertion might be little more than a kindly attempt to revive her father’s flagging reputation. Yet, Pugh was clearly no ordinary father, and Tuckey’s advocacy on his behalf is correspondingly unusual. She casts her father as a ‘uniquely talented, turbulent man,’ ‘truly great,’ ‘difficult, bad-tempered,’ ‘rather cruel’ and ‘totally selfish’.

When almost every tale about the Arctic has been told, when the major explorers have been assessed and re-assessed, when even the most obscure bit-players have been drawn into the light, what is a polar-minded author to do? Publishers can be such tiresome sticklers for novelty, always hankering after books to fire off into some perceived gap in the market. Failing that, they often insist on reputational piggy-backing — the author following in the footsteps of a legendary explorer, urgently intuiting the past, like a cross between a hiking holiday and a séance. Alec Wilkinson ignores the fashionable justifications.

For centuries, the history of the far North was a tapestry of controversies and mis- understandings, misspellings, dubious arrivals and equally dubious departures. Pytheas the Greek sailed north from Britain in the 4th century BC, found a place where the sea, land and sky seemed to merge, and was trounced by later scholars as a terrible charlatan. The Vikings mingled cartographical details with stories of trolls and hauntings. During the reign of Elizabeth I, Martin Frobisher went north and (mistakenly) thought he’d found gold. Undeterred, successive explorers and treasure hunters ventured into the Arctic wastes, many of them vanishing among the floes. Frederick Cook claimed to have reached the North Pole in 1908; his claim was promptly dismissed.

Atlantic by Simon Winchester and The Wave by Susan Casey are, at first glance, very different works. Atlantic is a historical-philosophical-fantastical meditation on the Atlantic ocean, from the ‘post-molten Hadean’ through the ‘cool meadows of today’s Holocene’, to the conjectured end-days of the ocean ‘about 170 million years’ from now. The Wave is a pithy account of some years Casey spent following the elite American surfer Laird Hamilton as he travelled from one storm-lashed coast to another in search of waves.

In 1931, a 23-year-old Englishman called Henry ‘Gino’ Watkins returned from an expedition to the white depths of the Greenlandic ice cap. In 1931, a 23-year-old Englishman called Henry ‘Gino’ Watkins returned from an expedition to the white depths of the Greenlandic ice cap. He was hailed as a precocious talent, even as a worthy successor to Fridtjof Nansen, who had recently died.  When Watkins died the following year, during another expedition to Greenland, King George remarked on the tragedy of his death, and Stanley Baldwin wrote that ‘If he had lived he might have ranked . . . among the greatest of polar explorers’. Yet Watkins had only just begun to establish himself, and his reputation swiftly faded.

For thousands of years, no one knew what lay in the ice around the North Pole. The blanks on the maps fuelled the imaginations of classical writers, who crafted stories of Hyperboreans living in a gaudy paradise, dancing with Apollo and generally misbehaving. As explorers from southern Europe travelled further north — revealing intransigent and not very Hyperborean locals, the Scrithofini, as Procopius called them, who liked to slide through forests with planks of wood stuck to their feet — everything got mixed up: myth and reality, fable and cartography.