Patrick Skene-Catling

The geological title of this unhappy memoir is an apt metaphor for fissures in the relationships between individuals of David Pryce-Jones’s extended family. Emotionally and financially competitive but interdependent, benefactors and beneficiaries, Jews and gentiles of various sexual proclivities are depicted grinding away against each other like so many incompatible tectonic plates. Pryce-Jones offers a candid expression of filial impiety for which Eton, Oxford and the Brigade of Guards surely cannot be entirely to blame, although it is true that education far from home, from an early age, has been known to piss children off, as they say. Young boys banished to boarding school may feel tormented by Oedipal yearnings and resentment of paternal indifference.

The Concorde experience, a fleeting indulgence in luxurious grandiosity, began each day with circumvention of the hugger-mugger of the hoi polloi at Heathrow. In the tranquillity of the exclusive Concorde departure lounge, insulated against the vulgar cacophony of the rest of the terminal building, elite passengers, only 100 at a time, while awaiting the call to the aircraft, were able to sip gratis buck’s fizz and make gratis unlimited international telephone calls. On my three Concorde trips, one from London to New York and two to Washington, I was impressed by the rich variety and subliminal sameness of my travelling companions, the modish accoutrements of haute couture and the blasé cool of genuine or simulated cosmopolitanism.

Woody Allen (born Allan Stewart Konigsberg), the prolific, Oscar-winning auteur, New Orleans-style jazz clarinettist, doyen of New York delicatessen society, moralistic nihilist and icon of nebbishes everywhere, will be 80 on 1 December. He says he hopes to sleep through the occasion, but he is already completing next year’s film, his 47th, and preparing a series of programmes for television. In the meantime, here, in homage, are two magnificently illustrated catalogues raisonnés. Both books incidentally tell the story of his life, including the time when he courted his former partner Mia Farrow’s adopted daughter, Soon-Yi Previn, and caused all media hell to break loose. He survived disapproval by working, married the girl in 1997, and they still live happily together.

‘Genuine invective is an almost lost art in our wild satirical age,’ Dennis Potter complained in New Society in 1966. Now, as the British Film Institute celebrates the life and work of ‘the writer who redefined TV drama’, Oberon Books, with perfect timing, offers this collection of Potter’s critical abuse in journalism and interviews at its most constructively eloquent. The Art of Invective essentially complements Humphrey Carpenter’s magisterial biography and all those DVDs of the plays that can still galvanise what Potter called ‘the palace of varieties in the corner of the room’. He believed that television, with its vast, all-inclusive audience, was a potentially powerful means of promulgating true democracy.

An American stand-up comedian Aziz Ansari, who usually performs in Los Angeles and New York, has found time to conduct an international investigation of the mating habits of the young in the digital age. Like most other stand-up comedians, male and female, Ansari evidently bases his act on nationalistic, ethnic and sexual misanthropy, expressed with facetious cynicism. The first words of his introduction are ‘OH, SHIT!’, which seem to promise streetwise modernity but nothing romantic. Is the book only some kind of wise-guy scam? No, it’s not that simple. Born 32 years ago in Bennettsville, a small town in South Carolina, Ansari apparently felt restricted by what he calls his ‘brown skin tone’ until he moved up to the less racist north.

Madness is an ancient, evidently inscrutable mystery, often regarded with superstitious fear, yet can provide a refuge from reality. Sometimes, however, the refuge turns out to be a trap. The human brain, beyond even the most rigorous thinker’s continuous control, is equally able to afford exquisite privacy and atrocious chaos.

This is a big book, a monumental text with 800 illustrations, 400 of them in colour, to be contemplated more easily on a lectern than in bed, celebrating the 75-year history of the greatest record company devoted solely to the variegated music called jazz. Blue Note Records, with headquarters in Manhattan, originated in the romantic imagination of a privileged adolescent, a Jewish architect’s son (the Jewishness was significant), who was born and brought up in Christopher Isherwood’s neighbourhood in Berlin, which regarded itself, with justification, as Europe’s capital of jazz in the hedonistic heyday of the Weimar republic. Alfred Lion precociously consorted with the city’s artists, musicians and all-round bohemian intellectuals.

‘The Anglo-Irish, their tribe, are dying. . . . They will go without a struggle, unlamented,’ Christopher Bland, 76, declares at the outset of his exciting, poignant and ultimately consoling debut novel. He refers particularly to the Protestant landed gentry, who achieved political and economic ascendancy in Ireland even before the Penal Laws disenfranchised and dispossessed the Catholic majority, until, in the 20th century, rebellion and civil war brought about independence, with incomplete national unity.

The robber barons of the gilded age, at the turn of the 20th century, were the most ruthless accumulators of wealth in the history of the United States, and none of them was less handicapped by moral scruples than W.A. Clark. He was up there near the pinnacle of acquisitiveness with Rockefeller but was not as legendary in popular imagination. While other pioneers were searching for gold, Clark developed copper-mining at the most opportune time, when there was a great and growing demand for copper for electrical wiring. The copper lode he discovered in Butte, Montana, produced 11 million tons and earned the town its nickname ‘The Richest Hill on Earth’. In those days, US senators were appointed by the state legislators, rather than elected.

John Steinbeck (1902–1968), an ardent propagandist for the exploited underdogs of the Great Depression, had barely enough money for subsistence during the years he spent preparing and writing The Grapes of Wrath, the protest novel regarded as his masterpiece. It made him a Nobel laureate and a very rich man. The Nobel committee praised his ‘realistic and imaginative writing, combining . . . sympathetic humour and keen social perception’. Seventy-four years after first publication, the book still sells more than 100,000 copies a year. In his Nobel acceptance speech in 1962, Steinbeck said that ‘a writer who does not passionately believe in the perfectibility of man has no dedication nor any membership in literature’.

When one notices the first symptoms of senile dementia (forgetting names, trying to remember the purpose of moving from one room to another, and so on), books can be wonderfully helpful. At the age of 80, Penelope Lively, the prolific, generally esteemed, novelist, has written an encouraging guidebook for the ageing: For me, reading is the palliative, the daily fix. Old reading, revisiting, but new reading too, lots of it, reading in all directions, plenty of fiction, history and archaeology always, reading to satisfy perennial tastes, reading sideways too — try her, try him, try that.

‘This Machine Kills Fascists’ was the ambitious slogan that Woody Guthrie (1912-1967) painted on his guitars. By fascists he meant the entire American capitalist establishment during the Great Depression and after. A self-taught socialist, Woody wrote more than 3,000 songs, mostly in angry protest on behalf of millions of underdogs. As the ‘Dust Bowl Balladeer’, he became the legendary folk hero who inspired Bob Dylan, Willie Nelson and many others. Woody was born in Okemah, Oklahoma. When he was 15, his mother was institutionalised with Huntington’s disease, a hereditary cause of early dementia and other mental disabilities, which he eventually inherited. At 17, he moved to Pampa, a small town on the Texas Panhandle.

After wading through 646 pages of narcissistic gush and breathtaking vulgarity in the accents of Dr Kissinger and Dr Strangelove, I am consoled by the thought that the ordeal has not been entirely a waste of effort. Frequently able to put the book down, yet obliged every time but one to lift it up again, I have found the exercise has wonderfully enlarged, defined and beautified my deltoids, trapezii, latissimus dorsi and other muscles too intimate to mention. Now, like Arnold Schwarzenegger, I can gaze into looking glasses with intensified Gemutlichkeit.

Whereas it is generally agreed that music has charms to soothe a savage breast, Congreve might have added that music also has the power to inflame bellicose fervour. Patrick Bade, who lectures at Christie’s Education and the London Jewish Cultural Centre, has written a commendably exhaustive history of how all sorts of music were used to strengthen civilian and military morale and to demoralise enemies immediately before and during the second world war. The BBC radio programme Music While You Work, for example, was believed to help make British factory workers contentedly productive. Musical propaganda broadcasts were supposed to convince Germans that we were patriotically more ardently motivated than they.

In his introductory eulogy, Peter Parker calls In the Making: The Story of a Childhood  (Penguin, £8.99) G. F. Green’s masterpiece, which, though not popular, attracted the admiration of E.M. Forster, Christopher Isherwood, Stephen Spender, J.R. Ackerley, John Betjeman, Philip Toynbee, C.P. Snow, Pamela Hansford Johnson, Frank Tuohy and Alan Sillitoe. According to Elizabeth Bowen, he was ‘the most neglected writer of his generation’. Explaining the title to his friend Michael Redgrave, Green (pictured above) said: ‘The theme is unequivocally that of the conditioning of a homosexual and the foreshadowing of his future love pattern.