Nigel Jones

John Gerard, a Jesuit priest immured in the Tower of London in 1597, and tortured by being hung from manacles until he temporarily lost the use of his arms, was a resourceful as well as courageous fellow. Dependent on the kindness of his jailer, a warder named Bonner, for such intimacies as washing, dressing and shaving, Gerard also persuaded the turnkey to bring him a bag of oranges. Regaining the use of his hands, he employed the fruit for two purposes: to fashion crosses and rosaries from the discarded peel, and to make invisible ink from the juice.

Today, 23 April, the world celebrates the 450th anniversary of William Shakespeare's presumed birth (and marks with less joy the date of the Bard's death in 1616). That double date obscures another: the 99th anniversary of the death of a less celebrated Warwickshire-born literary lad, the poet Rupert Brooke. Brooke, like many of his friends and contemporaries, died in the First World War. But unlike most of them, he perished not in action, but as a result of septicaemia from an infected insect bite to his upper lip. En route to the bloody beaches of Gallipoli, he fell ill in Egypt, died on a French hospital ship moored off the Greek island of Skyros, and - fittingly for a classically educated poet - lies buried in an isolated olive grove overlooking the wine-dark waters of the Aegean.

With two new biographies of Kim Philby out, an espionage drama by Sir David Hare on BBC2, and the recent revelation that the aristocrat superspy John Bingham was the model for George Smiley, there is little doubt that Britain is currently going through one of its fitful bouts of spy fever, and this book can only add to the excitement. Philby has a walk-on role in Jason Webster’s gripping and stylish new account of the extraordinary career of Juan Pujol, aka Agent Garbo — and a multiplicity of other monikers — arguably the second world war’s most successful double agent apart from Philby himself.

Wilfred Owen, the poet whose work epitomises the horror of the First World War for most people in modern Britain, was born in Oswestry in the Shropshire Marches, close to his Welsh ancestral homeland, one hundred and twenty-one years ago today. His brief life ended just a quarter of a century later, on November 4th 1918, when he was cut down by a German machine gun as he heroically led his men across the Sambre-Oise canal in the sort of suicidal attack that his poetry had implicitly criticised. Famously, the telegram announcing his death arrived at his parents' home in Shrewsbury at the exact moment when the bells were ringing out to celebrate the Armistice ending the war.

As an early dedicated fan of the Doors, who ran away from boarding school just so that I could catch my idols playing the massive Isle of Wight festival (a gathering of the Hippie tribes that in retrospect marked the end of the peace 'n love era) I approached this book with more than casual interest. I saw and heard two of its subjects - Jimi Hendrix and my hero Jim Morrison - give what turned out to be their swansongs that sweaty August night on the island. Both were dead within the year. Both were aged 27, as were rock biographer Howard Sounes's other subjects: Brian Jones of the Rolling Stones in 1969; Janis Joplin in 1970; Kurt Cobain in 1994, and most recently Amy Winehouse in 2011.

The life of Oscar Wilde is so wearily familiar that we assume that there is nothing new to think or say about him. This book proves us wrong. Carlos Blacker - the central figure of  J. Robert Maguire's research for more than half a century - rates, at best, a bare mention in Wilde's many biographies. Yet, as Maguire conclusively demonstrates, he is no footnote. Blacker, a handsome man of Latin extraction, knew Wilde in the days of his London pomp, was a witness at the writer's wedding to the long-suffering Constance Lloyd, and often saw his friend on a daily basis.

Final proof - if any were needed - that Englishmen are not made of the same mettle as their rough, tough ancestors is provided on the website of the Towton Battlefield Society, who have cancelled their annual re-enactment of England's bloodiest battle this Sunday 'for safety's sake...' on the grounds that the battlefield has been waterlogged by this year's unremitting wet weather. This is an irony of ironies. For those who fought the original battle on the high Yorkshire plateau of Towton on Palm Sunday, March 28th 1461, during the Wars of the Roses, were not constrained by the same health and safety fears. Instead, between 50-80,000 men stood toe to ironclad toe for around ten hours in a driving snowstorm, shooting, hacking, stabbing and clubbing each other down.

This week, March 11th, marks the 50th anniversary of the shooting by firing squad near Paris of the last person (so far) to be executed by the state for political offences in France. 36-year-old Lieutenant-Colonel Jean Bastien-Thiry, a brilliant young officer of the French Air Force, was a rocket scientist (he invented the SS-10 anti-tank missile) - involved at the highest levels of France's attempt under President De Gaulle to forge a path independent of US hegemony in developing its own defence capability.

Anyone who watched last night's Channel 4 Documentary Richard III: The King Under the Car Park will need no reminding that members of the Richard III Society tend to be delusional fantasists rather than serious historians. Although we should doubtless be grateful to the Society for funding the dig that discovered the monarch's bones, that very fact tends to slant the coverage of Richard's resurrection. There has been much talk about 're-writing history' and countering 'Tudor propaganda'; but the inconvenient truth (for Ricardians) is that the late king's spine was indeed twisted by scoliosis and one of his shoulders was noticeably higher than the other. Those particular pieces of Tudor and Shakespearian “spin” were no more than the plain truth.

‘The German sense of humour,’ Mark Twain famously observed, ‘Is no laughing matter.’ Although many Greeks, stretched on the Euro's rack at Berlin's behest, may be inclined to agree, Rudolph Herzog's intriguing study of humour in and against Hitler's Germany, Dead Funny: Telling Jokes in Hitler's Germany, proves conclusively that the Teutonic funny bone, while it may be difficult to locate, definitely exists.

The question of how Europe stumbled into the horrific abyss of  the First World War, the catastrophe which The Economist once called 'the greatest tragedy in human history' is obviously of much more than purely academic interest. (Though it is chiefly academics who have been arguing about it ever since). As we approach the centenary of the conflict's outbreak, one of them, Christopher Clark, Professor of Modern History at Cambridge University, has written a magnificently detailed study of the diplomatic dance that led the continent up to and over the edge. The Sleepwalkers should be required reading for politicians and decision-makers fumblingly steering the world in our own age, an epoch perhaps even more dangerous than the era of 1914.

Of the writing of books on the Second World War, and the reading public's appetite for them, seemingly, there is no end. And the past few months have seen a particularly rich crop from some of our finest and most senior historians of the conflict; their books representing the considered summation of their thoughts on the worst disaster humankind has yet to experience.   Of the quartet under review, David Edgerton's Britain's War Machine offers the boldest revisionist argument that seeks to overturn some of our most treasured assumptions about Britain's role in the war.