Peter Parker

‘July 1st 1916 was the most interesting day of my life,’ Philip Howe recalled, with characteristic English dryness, half a century after taking part in the most catastrophic 24 hours in the history of the British army. Howe had been a lieutenant in the 10th West Yorkshires, which had the grim distinction of losing more men during the first day on the Somme than any other battalion: of the 1,050 that went into battle, 710 became casualties, 60 per cent of whom were killed. At the end of the day Howe was the only officer left standing, and many other battalions had suffered almost as badly.

In August 1915, in his tent at GHQ on the Aegean island of Imbros, General Sir Ian Hamilton, commander-in-chief of the Gallipoli expedition, woke from a dream in which someone was attempting to drown him in the Hellespont. ‘For hours afterwards,’ he wrote in his diary, ‘I was haunted by the thought that the Dardanelles were fatal: that something sinister was afoot: that we, all of us, were pre-doomed.’ This was not how it had seemed when what had been confidently designated ‘the Constantinople expedition’ set out for the distant and largely unknown Turkish peninsula.

Princess Sophia Alexandrovna Duleep Singh (1876–1948) had a heritage as confusing as her name. Her father was a deposed Indian maharajah who had been exiled to England, her mother the Cairo-born illegitimate daughter of a German merchant and an Abyssinian slave. The young princess was brought up in considerable splendour on a vast Suffolk estate as a thoroughly anglicised aristocrat who would be presented at court and become an enthusiastic participant in the Season before unexpectedly joining the battle for women’s suffrage. Anita Anand traces what she calls the ‘roots of rebellion’ to Sophia’s father.

The first volume of Christopher Simon Sykes’s biography of David Hockney ended in the summer of 1975. The 38-year-old painter had just returned to Paris, where he was then living, ‘energised’ by the widespread acclaim that greeted his designs for the Glyndebourne production of Stravinsky’s The Rake’s Progress. Energy was something Hockney would need in the years ahead when the time he always wanted to devote to painting was frequently interrupted by side-projects such as stage design or an investigation into earlier painters’ use of the camera lucida, sudden passions for new technology, and the increasing demands of celebrity.

In his time, Gerald Hamilton (1890–1970) was an almost legendary figure, but he is now remembered — if at all — as the model for the genial conman in Christopher Isherwood’s novel Mr Norris Changes Trains (1935). ‘There are some incidents in my career, as you doubtless know, which are very easily capable of misinterpretation,’ Arthur Norris tells the book’s narrator, and Hamilton affected to be deeply shocked by the assorted vices attributed to his fictional alter ego. He nevertheless exploited the connection throughout his long and disgraceful life. When Isherwood met him, Hamilton (né Souter) was employed in Berlin by the Times as its German sales representative.

From the Greek seafarer Scylax in 500 BC to the Beatles in 1968, there is a long history of foreign visitors being drawn to India. Many have come in search of the ‘exotic’ or the ‘other’, an idea of India that persists despite the best efforts of Edward Said’s post-colonial disciples.

It has been 14 years since Akhil Sharma published his first, widely acclaimed novel, An Obedient Father. Though its subject matter is very different, Family Life more than fulfils the expectations raised by that grim but compelling story of financial, political and moral corruption in India. Growing up in Delhi in the 1970s, the eight-year-old Ajay Mishra believed that his father ‘had been assigned to us by the government. This was because he appeared to serve no purpose.’ Everything changes when Mr Mishra leaves for America in 1978, followed a year later by Ajay, his 12-year-old brother Birju, and their mother.

‘Life is bristling with thorns,’ Voltaire observed in 1769, ‘and I know no other remedy than to cultivate one’s garden.’ This is the remedy espoused by Candide at the end of Voltaire’s satirical novel, published ten years earlier, and the literal and metaphorical cultivating of gardens is the subject of Damon Young’s sprightly and stimulating little book. Young examines the relationship between gardening and philosophy in the life and work of 11 writers, from the 18th to the 20th century, topping and tailing these individual essays with a consideration of the Ancient Greeks.

Rana Dasgupta, who was born and brought up in Britain, moved to Delhi at the end of 2000, principally to pursue a love affair and to write his first novel. He soon found himself mixing in bohemian circles, spending his evenings in ‘small, bare and, in those days, cheap’ apartments, talking with ‘artists and intellectuals’. These are not the people, nor is this the life or the city that he describes in Capital. The book’s title is in fact a pun, since its principal subject is money: how it is acquired, how it is spent and what it has done to Delhi and its citizens.

After the success of their animal series of monographs, Reaktion Books have had the clever idea of doing something similar for plants. Writers are commissioned to investigate the botanical, historical, social and cultural aspects of individual plants, with volumes on oak and geranium already published, and yew, bamboo, willow, palm and orchid forthcoming. The structure and content of the books appears to be left up to the writers, but all the volumes combine scholarship with lively anecdote and are beautifully and generously illustrated. While lilies seem an obviously attractive choice for such a series, who would have thought conifers could be so interesting?

Almost 30 years after his death, François Truffaut remains a vital presence in the cinema. Terrence Malick and Wes Anderson are among maverick directors who have acknowledged their debt to him, while Noah Baumbach’s recent Frances Ha is in part an hommage à Truffaut in a way the French director would have appreciated: for example, the quick succession of scenes establishing the friendship of Frances and Sophie is borrowed from Jules et Jim (1962), Jean Constantin’s music from Les Quatre Cents Coups (1959) appears on the soundtrack, and a poster for L’Argent de poche (1976) is glimpsed on a wall just in the way significant posters and pictures appear in the backgrounds of Truffaut’s own films.

In his 1780 essay On Modern Gardening Horace Walpole declared that of the many ornamental features then fashionable, the one ‘whose merit soonest fades’ was the hermitage. Inspired by the ancient cells of genuine religious anchorites, but largely decorative, garden hermitages had flourished in Britain during the 18th century. While some were appropriately primitive in design, others had Gothick doorways and windows filled with stained glass, floors made of pebbles or sheep’s knucklebones arranged in elaborate patterns, ceilings ornamented with pine cones, rustic furniture made from elm boles ‘distorted by fungal disease’, and inscriptions carved in stone to aid philosophical reflection.

Holker Hall is situated in a beautiful Cumbrian landscape within sight of Morecambe Bay, and in 1950 it became the second stately home, after Longleat, to be opened to the public. The house itself dates back to the 16th century, with a Victorian west wing replacing one that burned down in 1871. It is, however, the extensive park and gardens surrounding the house that have made it famous. Several generations of the Cavendish family have left their mark on this land, but the present garden is largely the creation of Hugh Cavendish — who was brought up at Holker and inherited it on his father’s death in 1972 — and his wife Grania. Taking on an historic garden involves one fundamental decision: whether to preserve or to evolve.

Christopher Isherwood kept diaries almost all his life. The first extant one dates from 1917, when he was 12, and like most schoolboys he used it more to measure than record his days: ‘Work in morning, walk in afternoon. In choir. More work. Nothing special.’ At Cambridge, however, inspired by the W.N.P. Barbellion’s The Journal of a Disappointed Man, he began keeping a more detailed and reflective record of his experiences. Fragmentary diaries survive from the years 1928 to 1938, but the four volumes of Isherwood’s published diaries begin with his arrival in America in January 1939 and end in 1983, three years before his death.

Jessica Douglas-Home’s aptly titled book is based on the diaries of her grandmother Lilah Wingfield, who attended the Delhi Durbar in 1911 and then spent some weeks touring India. It is a glimpse of Empire from a privileged position since Lilah was the daughter of a viscount and the grand-daughter of an earl, brought up at Powerscourt Castle in Ireland and spending her summers at Holkham Hall in Norfolk. She sat in the grandstand for ‘Distinguished Spectators’ at the Durbar and was the guest of several Indian rulers during her tour. She did not, however, ‘share the assumption of superiority that afflicted many of the officials of the Raj’, her granddaughter writes. ‘She was too Irish for that.

At the age of just 21, Samuel Palmer produced one of British art’s greatest self-portraits. At the age of just 21, Samuel Palmer produced one of British art’s greatest self-portraits. Although he is wearing the clothes of the period (1826), the face that surmounts the casually fastened soft high collar is both Romantic and modern, instantly and thrillingly bridging the gap between his century and our own. As Rachel Campbell-Johnston notes in her welcome biography, Palmer’s hair is unbrushed and he seems not to have bothered to shave: ‘It’s hardly the image you would expect from an upcoming artist at that time. He does not strike the pose of the ambitious young professional; make a bid for new clients by parading palette and brush’.

When Francis King returned to Oxford at the age of 24 in order to resume an education interrupted by the second world war, he had already published two novels. ‘Eager to publish more’, he decided to switch from Classics to what he saw as the easier option of English so as to leave more time for his writing. And publish more he did, with a bibliography that eventually ran to over 50 items, comprising not only novels and volumes of short stories, but poems, plays for radio and several distinguished works of non-fiction. He had an equally prolific career in literary journalism, which started during the war when J.R. Ackerley recruited him to review first poetry and then fiction for the Listener.