Philip Hensher

By now, Alice Munro has established a territory as her own so completely, you wonder that the Canadian Tourist Board doesn’t run bus tours there. Perhaps they do, even though it presents an appearance more characteristic than inviting. To think of her world is to think of lonely houses at the edge of bleak, small towns; of unsatisfied backrooms looking over muddy fields; of suburbs, making do; of institutions imposed on half-made landscapes, and human disappointment reflected in the world about her characters. It is classic short-story territory, and over the years Munro has carved a substantial reputation without venturing very far from what she does best; the classic short story of disappointment and epiphany, in the landscape she knows and understands.

Some writers spend their careers happily producing variations on the same book. Others seem to rethink the sort of book they would like to write with each new work. Only a very few, however, have a career which looks like a planned trajectory into something completely new; you would not predict Tolstoy’s late fables from his first autobiographical sketches, or the opaque fantasy of James Joyce’s Finnegans Wake from the dogged realism of Dubliners. And yet all the steps in between are carefully considered, and the career makes perfect sense. Italo Calvino was very much one of those writers.

There are more lesbians in fiction than you could shake a stick at, of course. Graham Robb, writing about late 19th-century fict- ional lesbians, has observed that the fin-de-siècle lesbian was educated at a boarding school or a convent. She was frighteningly self-possessed, wore dark colours, read novels, smoked cigars, injected morphine or inhaled ether, suffered from excess hair except on the head, spent too much time in conditions suitable for tropical plants, and was prone to horrible diseases. She was such a common figure that historians are able to make generalisations about the usual descriptors. Still, when Sarah Waters started her delectable career with three novels about lesbians in the belle époque, one had the sense of a gap being filled.

With the economy in recession, the close attentions of the IMF, taxation rising to punitive levels and a general sense of our having lived beyond our means, reminders of the 1970s are all around us at present. Last week, both the death of the union leader Jack Jones and Alistair Darling’s extraordinary budget in their different ways took us back to the atmosphere of 30 years ago. Andy Beckett’s history of the political engagement of those years comes at a highly opportune time. He rightly focuses not on the familiar popular culture — there is no mention of flared trousers, the Osmonds, platform shoes or space-hoppers — but on the much stranger political landscape of the time.

Sweet Water and Bitter: The Ships that Stopped the Slave Trade, by Siân Rees The narratives of slavery have, it’s safe to say, replaced the narratives of imperial adventure in our reading lives, and our moral compasses are orientated by indignation at suffering and exploitation rather than by the contemplation of our ancestors’ achievements. The slave trade, considered ‘relevant’ as well as a gruesome spectacle of human suffering on a colossal scale, is taught in schools and familiar to millions to whom ‘Nelson’ suggests only Mandela. And yet the abolition of the slave trade, over long, difficult decades, was one of the bravest and most serious endeavours of the British in the 19th century.

2666, by Roberto Bolaño Not every writer would write a novel in the form of a completely invented encyclopaedia of imaginary writers and call the result Nazi Literature in the Americas. Not everyone, either, would write a novel in two paragraphs, the second less than 12 words long, or produce a novel about a torturer-poet who writes his work in jet-trails in the sky. As soon as Roberto Bolaño came to the attention of the world, it was clear that, however extraordinary his work seemed in formal design and subject, he might have something even more extraordinary under wraps. After his death in 2003, word emerged from the Spanish-speaking world of a gigantic novel called 2666.

Much great American writing is regional in a way that British or French writing never has been. Most of the best writing coming from the States inhabits a place which apparently feels no pressure from the great metropolitan centres — Annie Proulx on the Texas panhandle, Cormac McCarthy on the Mexican border territories, Jane Smiley on the Midwest. Even when a great city is in the vicinity, as in Anne Tyler’s or David Simon’s very different considerations of Baltimore, we feel a specific regional flavour emerging; John Cheever’s fictions of elegant suburban life have a distinctly north-eastern flavour which evidently still weighs heavily with writers of that particular region.

Gabriel García Márquez, by Gerald Martin In July 1965, or so the story goes, a Colombian writer in early middle age, living in Mexico City, decided to take his wife and two young sons on a short and much needed holiday to Acapulco. He had had some small successes, and was respected in the small world of Latin American letters. Still, money was tight and imaginative writing had to be supplemented with income from other sources — journalism, the writing of advertising copy. He had driven some way on the winding road to Acapulco when suddenly, ‘from nowhere’ he afterwards said, a sentence came into his head: Many years later, as he faced the firing squad, Colonel Aureliano Buendía would remember the day his father took him to discover the ice.

Just Me, by Sheila Hancock My Word is My Bond, by Roger Moore Me Cheeta, by Cheeta Everyone knows what the Hollywood autobiography is like. It contains the assurance that the author has been made to feel exceptionally ‘humble’ exactly at those points where someone ordinary might expect to feel smug and triumphant — a knighthood, or an Oscar. (‘The citation specified it was for my work for charity, which was particularly humbling.’) It contains the parting expression that the hero or heroine is really overwhelmed by the feeling of good luck. (‘How blessed am I to have experienced such love … I am a very lucky, lucky woman.

Fine just the way it is: Wyoming stories by Annie Proulx The realism of Annie Proulx’s fiction is an extraordinary phenomenon. Realism in a novel has never been the same thing as plausibility, and her novels and short stories are full of bizarre and unforeseen events. The violent extremity of a great deal of her narratives sometimes verges on the territory of urban myth rather than anything recognizable as everyday life, and she enjoys characters considerably beyond the ordinary territory of the grotesque.

The last time all five James children were in the same room was at their mother’s funeral, in 1882. It must have been a strange gathering. Even by then, their lives had followed such extraordinarily different paths that, to the reader of their collective biography, they seem to have become randomly assembled strangers. Henry James, the novelist, is always going to be the one with the greatest interest and appeal, but his cosmopolitan elegance sits oddly next to William, the solid thinker and analyst of mysticism, Alice, the wry solipsistic invalid, or, especially, the rackety and sad lives of Wilkie and Bob. The story’s been told before, of course; but that’s because it’s a tantalisingly odd story.

There are going to be plenty more of these, no doubt, even though the Blair administration doesn’t strike one as having been a government full of natural diary- keepers or memoir writers. Still, the incentive of publishers’ lucre presses strongly on those recently deprived of office — John Prescott, in this memoir, remarks guilelessly that he had no idea, until he stood down, quite how expensive London property was. Mrs Blair and now John Prescott have probably been wise to dash into print with books, however atrocious in execution and deplorable in intention, before too much time elapses.

There are now two full columns of entries on the ‘Also by Doris Lessing’ page — 58 separate books. Along with work of an entirely fantastical, invented variety there is a good body of her work which shades off, in calibrated degrees, from the realist and directly observed novel, towards the autobiographical fiction, and into autobiography proper. The urge to give an account of her own life has been a constant incentive from the Children of Violence sequence which begins with Martha Quest. There are, too, novels such as the recent, excellent The Sweetest Dream where we are invited to consider an autobiographical component, as well as two volumes of formal autobiography. All the same, she has never written a book much like Alfred and Emily.

David Lodge’s writing career spans nearly 50 years. Coincidentally, my son was reading (and hugely enjoying) How Far Can You Go? when Deaf Sentence arrived for review: it seemed generationally fitting that the teenager should be reading about sex and religion, and his mother a novel about deafness, death, erectile dysfunction and the search for a care home that does not smell of ‘urine nauseatingly mixed with air-freshener’.

Tim Winton is a prodigy among novelists, publishing his first novel when barely out of his teens and one of the great masterpieces of world fiction when only just 30. Like many such novelists — Thomas Mann and Javier Marias come to mind — his later work has tended to explore exquisite technical points, inviting his readers to exert their capacities within a structure unfamiliar and often cryptic. The Turning, his previous book, seemed, like Confessions of Felix Krull, to challenge the reader to bring a high level of cunning to match his own virtuosity. Like many such writers, too, he has retained a degree of respect for fictional textures of lucid simplicity.

Some roles in domestic service truly capture the imagination and have supplied English literature with several of its most enduring figures. There are the manservants from Sam Weller to Jeeves. There are butlers, including the terrifying one who receives the news of Merdle’s death in Little Dorrit with such equanimity, Henry Green’s Raunce, and Kazuo Ishiguro’s infinitive-splitting Stevens in The Remains of the Day. Surely, however, no domestic role has provided so many poignant inventions as that of the governess. From the moment the threat of the ‘governess-trade’ is made to hang over the head of Jane Fairfax in Emma, the 19th-century novel can hardly do without it.