Richard Davenporthines

Auden said: ‘The ideal audience the poet imagines consists of the beautiful who go to bed with him, the powerful who invite him to dinner and tell him secrets of state, and his fellow-poets. Auden said: ‘The ideal audience the poet imagines consists of the beautiful who go to bed with him, the powerful who invite him to dinner and tell him secrets of state, and his fellow-poets. The actual audience he gets consists of myopic schoolteachers, pimply young men who eat in cafeterias, and his fellow poets. This means, in fact, he writes for his fellow poets.’ Certainly Auden’s The Age of Anxiety, which was first published in 1947, is seldom understood except by other poets.

Derby Day is meticulously plotted and written with bouncy confidence. It tells the story of a sordid, conniving rascal called Happerton who plots a betting swindle for a Derby of the 1860s. He marries the colourless but near-sociopathic daughter of a rich attorney, and cheats on her without noticing the intensity of her passion for him. The couple sedate the old man, reduce him to his dotage and raid his savings. Happerton also masterminds a raid on the strong-room of a City jewellers — echoes here of the jewellery raid in Taylor’s previous novel, At the Chime of a City Clock.

Frederic Raphael was the first man to use a four-letter word in The Spectator: the work of his fellow playwright Stephen King-Hall, he wrote in 1957, made him ‘puke’. Frederic Raphael was the first man to use a four-letter word in The Spectator: the work of his fellow playwright Stephen King-Hall, he wrote in 1957, made him ‘puke’. Scorching dismissals and mordant discomforting truths have been flowing ever since from the novelist, Oscar-winning scriptwriter, playwright, classicist and critic, who will turn 80 later this year. Some of his most enduring work only began to appear in 2001, when Raphael published the earliest extracts from the working notebooks that he began compiling as a teenager.