Philip Hensher

What does fashion look like? When intellectual or artistic vogues change, how do we know when they have happened? The most popular men’s trousers in the UK at the moment are probably ones in a sort of indeterminate beige colour, if you go by the number of people wearing them. But I don’t think that’s fashion. The most read novel of 2012 is Fifty Shades of Grey. But nobody would regard that as an exemplar of the novelist’s art, or think of it as trendy in any way. The link between popularity — or ubiquity — and importance is a complicated one. Here, in an ingenuous way, is an object for a case study. Opera is not ‘popular’ in any sense at all. Almost nobody is interested in it, apart from you and me.

The Quest for Corvo started something rather peculiar in biography. A.J.A. Symons’s 1934 classic — described as ‘an experiment’ — set out the biographer’s search for his subject, and not just the results. This was justified in the case of an elusive and unusual figure like the ‘Baron’ Corvo. Nowadays, many biographies are written like this, and we have to hear about the author tramping from archive to library to study. Can it really be justified in the case of a 20th-century duke, whose papers are in the order in which he left them?

Krystal had never shot up before … but she knew how to heat the spoon, and about the tiny little ball of cotton wool you used to soak up the dissolved smack, and act as a filter when you were filling the syringe. She knew that the crook of the arm was the best place to find a vein, and she knew to lay the needle as flat as possible against the skin. Yes, J.K.Rowling is back — though I have to admit, I don’t myself recall passages like this in the Harry Potter sequence, nor all the f***s and c***s or detailed descriptions of a teenage boy’s enthusiasm for porn. It seems unlikely they appeared in the 300-odd pages of Harry Potter and the Half-Blood Prince that were left when I finally abandoned it, unable to put up with it any longer.

Niall Ferguson, in his impressive and exuberant book Civilization, published last year, sought to explain why Western civilisation triumphed in the centuries after the Renaissance with reference to six factors. He identified them as competition, science, property, medicine consumption and work, or a particular work ethic. These historical tours d’horizon are never without their critics, and Ferguson’s confident account of what one had thought an undoubted historical phenomenon found a memorable one in the  pages of the London Review of Books. The London-based writer Pankaj Mishra dismissed what he saw as a triumphalist tone, and refused to accept that those eastern civilisations which are now in the ascendant have learnt from the West.

The Letters of T.S.Eliot is a project which already seems to belong to another world, of leisure and detailed scholarship. It was conceived of decades ago, and the first volume, under the editorship of Eliot’s widow Valerie, came out in 1988. A second volume, with the support of the excellent John Haffenden, emerged 21 years later; this third takes us only up to 1927, with a good 40 years of a busy professional life to follow. There may be a dozen volumes to go, and the undertaking in the end will rival the great Pilgrim edition of Dickens’s letters in scale. The editing of the Eliot letters is exemplary in its detail, authority and quality of annotation. It is the closest thing to a perfect edition of a great writer’s correspondence that can be imagined.

After the turn-of the-century memoir Experience, Martin Amis’s career has been widely perceived as somewhat rocky, shading into moments of disaster. If Experience, with its triple narrative of father, teeth and Fred West, was regarded as a compelling and masterly whole, Amis’s subsequent novels and non-fiction have not been as widely admired. Yellow Dog was quite a mess, getting some terrible reviews. The return to the knockabout vulgarian comedy that had made Amis’s name just lacked conviction. House of Meetings was more generally admired, being a fictional offshoot of a bizarre exercise, the non-fiction Koba the Dread. Both books were concerned with the crimes of Soviet Russia. The Pregnant Widow divided readers.

From time to time, society rethinks what its institutions mean. Despite what fundamentalists will tell you, this may include — indeed, almost invariably does include — the institution of marriage. Previous rethinks have involved the admissibility of polygamy (mostly in non-Western societies), the marriageable status of the religious, and the precise borders of incest. Some societies admit the concept of marrying a dead person, as in France and China. The possibility of a man’s marrying the sister of a deceased wife was as energetically opposed, during most of the 19th century in Britain, as the possibility of his marrying another man is now.

The subject here is colossal, covering a substantial stretch of the later Roman empire, the last years of the Persian empire, the conversion of the Arabs, the spread of Christianity and what happened to Judaism. The time span runs, effectively, from the death of Jesus to the moment in the eighth century when the Abbasids acquired through violence the vast empire of the Umayyads, stretching from the Loire to the Hindu Kush, and founded Baghdad. The title of Tom Holland’s book is rather studiously general, but his central topic is unmistakable: the founding and establishment of Islam and its political and martial setting. If Holland didn’t want to make a point of this in his title, one couldn’t blame him.

Some writers’ lives are estimable, some enviable, some exemplary. And some send a shudder of gratitude down the spine that this life happened to somebody else. It isn’t necessarily about success or acclaim — most rational people would very much prefer to have had Rimbaud’s life rather than Somerset Maugham’s. But sometimes it is. In the ranks of Mephistophelean terror, there are few more frightening stories than the life of the Austrian novelist Joseph Roth. Everything went wrong for him, and it must have been simply appalling to have had to live within that head, with those thoughts. That he is also a great novelist merely adds to the horror that this collection of his letters conveys. He saw too clearly for his own sanity.

Philip Hensher gives a critical insider’s view of the Creative Writing industry It has always been a challenge to get a novel or poem published. Twenty years ago, I went about it in the traditional way. I read a hell of a lot of books. I did a couple of literary degrees. I got an interestingly peculiar but rather gruelling job. I wrote a novel or two in the evenings or on holiday. Then I met a literary agent at a drinks party and he took one on and sold it to Hamish Hamilton — and has possibly regretted it ever since. The traditional way has, in the last few decades, been supplanted by a more professional sounding one called the Creative Writing degree.

Haruki Murakami’s latest tale of good and evil has a thrilling, broad sweep, but the delicacy of his early work is missing, says Philip Hensher  The scale of the celebrity of the Japanese novelist Haruki Murakami is impossible to convey. From 1987, when his enchanted love story Norwegian Wood sold millions, he has been a huge presence in Japan. From the 1990s onwards, he has moved from being a cult favourite abroad to a general bestseller.

It is difficult to conceive of a writer more passionately loved by his audience than Dickens was. It went on for a very long time, too. We learn from the historian David Kynaston that, immediately after the second world war, Dickens was one of the five most borrowed authors from public libraries. My grandmother was probably a typical reader of Dickens: she left school at 14 before the first world war, yet had a cheap set of Dickens in the house (I think it was a promotional giveaway by the Daily Express at some point in the 1930s.) I have the set — the typeface and the acid paper nearly make your eyes and fingers bleed. And yet she read most of them a lot more than once: the copy of David Copperfield falls apart as you open it.

No one could say that we didn’t have warning of these events in the most specific terms. A month before 11 September 2001, the President’s daily intelligence brief was headed ‘Bin Laden Determined to Strike in US.’ Other official warnings from this time and earlier were so specific, and so specifically ignored, that a former National Security Adviser at the White House, Sandy Berger, would on four separate occasions in 2002 and 2003 abstract official top secret documents from the National Archives by stuffing them in his socks. (Because of Berger, we now don’t know what these warnings consisted of). There were any number of commentators, too, who saw exactly what was coming.

If not equal to his best novels, Kingsley Amis’s short stories are still wonderfully entertaining, says Philip Hensher Some writers of short fiction — there doesn’t seem to be a noun to parallel ‘novelist’ — are dedicated craftsmen, like Chekhov, Kipling, William Trevor, Alice Munro or V.S. Pritchett. Others, like Evelyn Waugh or E.M. Forster, are more haphazard, producing stories to commission, or as a sketch, to try something out in moments when an idea on a small scale seems to be all that inspiration can supply. The result, when the collected edition finally surfaces, is generally more varied in surface than the works of the specialist — just think of Dickens’s stories, written for odd occasions and generally at short order.

What’s your punishment going to be, when you get to Hell? At least as envisaged by Dante, you might be somewhat surprised. Hitler (mass murderer) is in the outer ring of the seventh circle, up to his eyebrows in a river of blood and fire. Still, that’s a little better than the innocent manager of your local HSBC (banker), who is in the inner ring, running perpetually on burning sand. Both get off much lighter than the poor lady who, the other day, told me how much she’d enjoyed something or other I’d written (flatterer). She’s a whole circle lower down in the second bolgia, or pit, sitting in excrement forever, which seems rather harsh. Corrupt politicians are immersed in boiling pitch, but they are nowhere near as far down as the impersonators.

The King James Bible, while uniting the English-speaking world, gave birth to centuries of radicalism and Dissent. On its 400th anniversary, Philip Hensher examines the translation’s legacy Considered as a book, the Bible is far too long. Its characterisation is not all it should be: its hero, God, seems totally inconsistent, varying from a prankster with a bizarre sense of humour (Job) to a sensible dispenser of advice. You can’t help feeling that it is really rather patchy in quality: some of it is wonderfully entertaining, such as the Acts of the Apostles and the two Books of Kings, but some of it doesn’t seem to be interested in entertaining the reader one bit. (Look at the difference between the stonking first line of Kings and the droning way Chronicles kicks off.

There used to be two rules of successful imperialism. First, don’t invade Russia. Second, don’t invade Afghanistan. As Rodric Braithwaite points out, invading the latter country itself offers no real difficulties. The Afghans abandon their strongholds and take to the hills, allowing the invader to enjoy the illusion of power in Kabul, with a puppet leader installed in the Bala Hissar, the old palace fortress. The problems come later, as a long war of attrition achieves little and finally obliges the invader to cut his losses and run. Anyone can see that this is what is happening at present to the British and American forces. And it has happened before. It happened to the British in the 1840s — a tragic venture about which I wrote a novel, The Mulberry Empire.