Philip Hensher

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.

No one would be allowed to have J. G. Ballard’s career nowadays. When you consider the life of the average English novelist, what Cyril Connolly called the poverty of experience seems almost overwhelming, as the budding writer moves from school to university to a creative writing MA and on to the two-book contract. It is as thin a body of lived experience as the average Labour Cabinet minister possesses. Reading J. G. Ballard’s autobiography, you sometimes need to pause to remind yourself just how young he was at the time of many of the atrocious events described. At the point where most English autobiographies are just beginning, as the subject leaves university, enough horror has been lived through by Ballard to supply a lifetime’s imaginative transformations.

These journalistic pieces and two themed short stories have been written by Martin Amis after, and under the direct influence of, the events of 11 September 2001 in America. In a time of increasing specialisation, some supercilious amusement has been expended on the idea of novelists expressing their opinions on current affairs. Terry Eagleton, the academic who, by maintaining a semblance of Marxist thought in the 21st century, revives the dictionary meaning of the word ‘incorrigible’, is among Amis’s noisier critics. He remarked in a recent interview that he didn’t know why anyone should read novelists on these subjects in preference to window cleaners.

It might be thought that a book reviewer needs instruction in the skill specified in the title of Pierre Bayard’s book about as much as a moose needs a hat-rack. But cynics should know that the few people who are guaranteed to read a book are, in fact, the last people to be paid to do so. After the agent, the editor and the copy editor, the book reviewer picks up a book like this and reads it carefully from beginning to end, making notes as he goes. None of those people, however, are reading in any kind of normal way; during the industrial process of book production, the level of intricate attention paid to the text produces an experience which is nothing like real reading.

When, ten years ago, you bought for Jack or Chloe a jolly-sounding novel about a schoolboy getting up to all sorts of pranks at an academy for wizards, I don’t suppose you could have predicted the tone of the seventh and last book in the series. It is apocalyptic, redemptive, Wagnerian and quite extraordinarily keen on violent death. I think there are 24 named characters who meet a specified death through violence in this volume, and over 50 others, we are told, are killed anonymously. To the adult reader, the routine nature of all these deaths, the inability to register much in the way of a fresh response will be troubling. We are promised grief when somebody on Harry’s side is killed, and ‘screams and cheers and roars’ when an enemy dies.

The enjoyment you take in this novel will depend on what sort of animal you think the novel is. If you think novels are moral journeys, examinations of the troubles of the world, you will enjoy it as an ingenious example of the ‘alternate world’ fantasy. If you think they are principally aesthetic objects made out of language, you will enjoy it mostly as a dazzling game with styles and genres. Either way, there’s no denying the high hilarity and wit, in the largest sense, of this exceptional book. Michael Chabon’s conceit is that the state of Israel was briefly founded, but was destroyed almost immediately, chased into the sea in 1948. The Jews of the world found a homeland instead in Alaska.

One day in July 1945, a public schoolboy with a straw hat on stood with his trunk on Bishop’s Stortford station, and called out ‘My man’ to the porter. ‘No,’ the porter said, ‘that sort of thing is all over now.’ Whether it was or not, the Attlee period, 1945-51, is the most decisive and dramatic of our peacetime history. Society had utterly changed, and a government of extraordinary ambition set an agenda which was to go unchallenged until 1979. It was a period of great deprivation — rationing not only continued, but tightened after the war — and memory tended for decades afterwards to dredge up the horrible occasion of the hard winter of 1947 as a sort of macabre centrepiece to the whole experience.

The Order of Merit is the only honour which almost everyone would like to possess. The Garter is picturesque but would be felt by some to be anachronistic and somewhat pompous. Gs, Ks, Cs, Os and Ms are handed out with the rations and can anyway probably be bought. Companions of Hon- our are respectable enough but unequivocally second eleven. The OM is tops. For one thing, it is in the gift of the sovereign and so comes without any taint of party favour. ‘His Majesty entirely disregards the question of the political opinions of anyone who may be suitable for an honour,’ wrote Stamfordham loftily when Gilbert Murray’s candidature was in question.

Hannibal Lecter is, surely, a fictional character who needs no introduction. It’s one of the grosser stupidities of this almost limitlessly stupid novel to think that those readers who have enjoyed the grand guignol of Thomas Harris’s other Lecter novels, Red Dragon, The Silence of the Lambs, and Hannibal would welcome an account, even an explanation of his hero’s habits. In theory, one ought to be curious how it is that someone ends up thinking it quite entertaining to cut slices off a human brain (for instance) and sauté them at table before sharing the dish with his girlfriend and the still living victim. In practice, one doesn’t give a toss. Lecter’s an aesthete/psychopath. Who cares how he got that way?

Of course, he never did. Margaret Thatcher had more sense than to enter into any kind of discussion with Arthur Scargill — the horror of the beer-and-sandwiches relations between previous governments and the unions was too great. Before the 1984-5 miners’ strike which dominated and defined Thatcher’s second term in office, just as the Falklands war dominated the first, she would not have wanted to be in the same room as Scargill. Afterwards, of course, so comprehensive was the government’s victory over Scargill’s intentions, the question would hardly have arisen. These days, as Patrick Hannan says, hardly one educated person in ten thousand could tell you the name of anyone connected with the National Union of Mineworkers.

Listing page content here Most literary versions of the remote future are dystopias; they are not, of course, really about the remote future at all, but quite openly about the author’s own society in exaggerated garb. The Time Machine is about the division between the effete rich of Wells’s day and the urban lower classes riding the Underground. Nineteen Eighty-Four is, in texture, all about the privations of 1948. Brave New World is about the rise of cheap popular mass culture in the 1920s and 1930s. Will Self’s impressive new book presents, in a way, a pure portrait of the imagined future.

Oxford publishes, or has published, a number of anthologies of anecdotes relating to various professions. There is a very enjoyable one of military anecdotes, edited by Max Hastings, Elizabeth Longford’s of royal anecdotes (competing in a crowded field), and Paul Johnson’s of political anecdotes. Some professions more readily generate anecdotes than others. I could imagine an anthology of anecdotes about philosophers or doctors, but no one is going to buy The Oxford Book of Banking Anecdotes. A lot of serious-minded people probably disapprove greatly of the idea of an anthology of literary anecdotes. After all, full-dress scholarly biographies of writers are, in some circles, not regarded as particularly worthy enterprises.