Sam Leith

Nothing more gladdens this reader’s heart than a book that opens up an interesting and underexplored historical byway. Well, perhaps one thing: a book that opens up a historical byway that turns out to be a complete catastrophe. On that count, A Merciless Place more than delivers. Here is one of the great colonial cock-ups. It all started with a question that resonates to this day. When your jails are overcrowded academies of crime, and the respectable public lives in fear of what it imagines to be a violent criminal underclass, what do you do with your surplus convicts? Ken Clarke not yet having been thought of, conventional opinion in the 18th century was: ship them overseas and let them be somebody else’s problem. Yes, it hurt. Yes, it worked.

Sam Leith tracks the careers of Alan Hollinghurst’s captivating new characters through youthful exuberance to old age, dust and a literary afterlife It’s quite hard to know where to begin, reviewing The Stranger’s Child. As I finished it, and was heard making bloody-hell-this-is-good noises, two people asked me: ‘What’s it about?’ That, as it turns out, is a very good question. Ostensibly, it’s about a fictional poet called Cecil Valance, a diffusion-line Rupert Brooke described years after his death in the first world war as ‘a first-rate example of the second-rate poet who enters into common consciousness more deeply than many greater masters’.

If you thought that bust of Lenin you had on your desk as a teenager was the ultimate in radical chic, think on. Infatuated with the French Revolution, Lord Stanhope proclaimed his solidarity at a banquet at White’s Club. Announcing that he was thenceforth to be known as Citizen Stanhope, he ordered the coronets to be removed from the iron gates of his estate, Chevening. Despite its title, David Pryce-Jones’s new book isn’t just, or even especially, about traitors. It’s a high-speed survey of prominent British citizens who have taken up foreign causes.

Sam Leith is enthralled by a masterpiece on monotony, but is devastated by its author’s death When David Foster Wallace took his own life two and a half years ago, we lost someone for whom I don’t think the word genius was an empty superlative. He was an overpowering stylist, and a dazzling comedian of ideas. He could be gasp-makingly funny, but had an agonising moral seriousness. There’s more on one page of Wallace than on ten of most of his contemporaries. His mind seemed to have more buzzing in it than the rest of us could imagine being able to cope with, and perhaps than he could. The Pale King, assembled from his notes and papers by his editor Michael Pietsch, is an unfinished novel of more than 500 pages about the American IRS.

Sam Leith explores H. G. Wells’s addiction to free love, as revealed in David Lodge’s latest biographical novel In the history of seduction, there can have been few scenes quite like this one: ‘Am I dreaming?’, she said when she opened her eyes. ‘No,’ he said, and kissed her again. ‘But what about Jane?’ she said. ‘You love Jane.’ ‘Yes, I love Jane, and Jane loves me, but there are many kinds of love, Amber. You’ve read A Modern Utopia, you’ve read In the Days of the Comet, you know my views on free, healthy, life-enhancing sexual relationships. Jane shares them.’ They embraced and lay in eachother’s arms, exploring and gently stroking eachother’s bodies like blind people.

Why, the energetic historian Niall Ferguson asks in his new book, did a minority of people stuck out on the extreme western end of the Eurasian landmass come to dominate the world in cultural, political and economic terms for more than half a millennium? This, he says, ‘seems to me the most interesting question a historian of the modern era can ask’. Its supplementary — to which he only tentatively suggests answers — is ‘is it all over?’ Make no mistake [he writes], this is not another self-satisfied version of ‘the triumph of the West’. I want to show that it was not just Western superiority that led to the conquest and colonisation of so much of the rest of the world; it was also the fortuitous weakness of the West’s rivals.

Golly gee. Academic literary critics are going to hate Faulks on Fiction like sin. Here is Sebastian three-for-two Faulks, if you please, clumping onto their turf with a book of reflections on a couple of dozen great novels. And he declares in his introduction, with some pride, that he intends to take ‘an unfashionable approach’ and examine characters in these books ‘as though they were real people’. And he then divides them into four character types — Heroes, Lovers, Snobs and Villains — without so much as footnoting a structuralist ethnographer, instead declaring ex cathedra that these are ‘the four character types that British novelists have returned to most often’. And he blithely describes how ‘we’ react to books.

Sam Leith marvels at Victorian Britain’s appetite for crime, where a public hanging was considered a family day out and murder became a lurid industry in itself On my satellite TV box, murder is being committed 24 hours a day, seven days a week. I could probably live out the rest of my life watching the three CSIs, Bones, Criminal Minds and Waking the Dead without ever once breaking for a cup of tea or having to set the video to record. Is this a new thing? Sky Plus may be, but the obsession with murder? Not a bit. It all kicked off with the Victorians, as Judith Flanders’s winningly cheerful new book (aimed squarely at The Suspicions of Mr Whicher market) sets out to demonstrate.

I don’t remember who it was who said ‘memory is genius’, but they were on to something. I’m not sure, either, whether they meant genius in the original sense of ‘animating spirit’ — i.e. memory as constitutive of personality — or in the modern one of ‘brilliance’. But both seem to apply equally well to the peculiar talents of Geoff Dyer. He seems to have a photographic memory; and that’s not a figure of speech. He can remember photographs in an extraordinary way, as witness the opening essays in this collection, in which he spiels on photographers including Alec Soth, Jacob Holdt, Richard Avedon and Martin Parr.

If you think the Special Relationship has been looking strained in recent years, consider its condition during the American Civil War(1861-65). In 1863, an anonymous letter was delivered to Charles Francis Adams at the US legation in London: Dam the Federals. Dam the Confederates.Dam you both. Kill you damned selves for the next 10 years if you like; so much the better for the world and for England. Thus thinks every Englishman with any brains. NB PS We’ll cut your throats fast enough afterwards for you if you ain’t tired of blood, you devils. Brevity, they say, is the first grace of style. The feeling that letter encapsulates ran pretty high in England.

Lordy. It’s another book by Professor John Sutherland, and a fat one at that. What David Crystal is to linguistics and James Patterson to thrillers, John Sutherland is to literary criticism. I’ve more than once been critical about Sutherland in print, having detected — but who am I to talk? — a certain slapdashery in some of his scholarly productions. On the last occasion, I received a very gracious, if somewhat Eeyorish, email conceding the odd point and explaining his pace of output with a poignant allusion to alimony. So I don’t want the old brute to feel I’ve got it in for him. We all gotta eat.

Some of us are still startled that Wallace Stevens was 44 when he published Harmonium. So what to make of the fact that Roald Dahl was past the midpoint of his forties when he wrote his first children’s book in 1961, James and the Giant Peach? At the time, he was known as a dark little adult fabulist; macabre like Saki, twisty like O. Henry. A hint as to his view of children’s writing thereto is found in a letter anticipating the birth of his first child: ‘Parenthood is a great strain. I can see it all. Nursery books for Knopf. Once upon a time there was a dear little bunny . . .’ He did indeed end up writing nursery books for Knopf, but dear little bunnies were thin on the ground.

The phrasing of the subtitle is exact: a memoir in blindness, not of blind- ness. Like a portrait in oils — blindness being not just the subject, but the stuff of which this painfully stumbling, uncertainly reaching book is made. And not of, because it’s not something looked back on, like the memoir of a childhood: the blindness is still there waiting. ‘In’ acknowledges that, the way those even decades in recovery say ‘I am an alcoholic.’ And that, of course, heartbreakingly, is there too. In 2006 the novelist Candia McWilliam started to lose her sight, and to lose it in an unusual and tormenting way. She suffers from something called blepharospasm, a disease where the muscles that hold her eyelids open malfunction.

In the autumn of 1826, Prince Hermann Ludwig Heinrich von Pückler-Muskau came ashore in London after a long and gruelling voyage from Rotterdam. In the autumn of 1826, Prince Hermann Ludwig Heinrich von Pückler-Muskau came ashore in London after a long and gruelling voyage from Rotterdam. A whiskery Prussian princeling with a heavily indebted estate and a passion for landscape gardening, Pückler had come to England determined to find a wife. This was not a romantic project, however. English women were celebrated on the continent not only for their beauty — the perpetual damp was said to do wonders for their skin — but for their prosperity.

‘Two things fill the mind with ever new and increasing admiration and awe, the oftener and more steadily we reflect on them: the starry heavens above and the moral law within.’ Oren Harman uses this quote from Immanuel Kant to open one of the chapters of The Price of Altruism, and it’s an observation that — after the steady reflection on moral law that Harman’s book invites and encourages — only seems more true by the end. ‘Two things fill the mind with ever new and increasing admiration and awe, the oftener and more steadily we reflect on them: the starry heavens above and the moral law within.

Voltaire’s was a long and amazing life. Voltaire’s was a long and amazing life. He was tragedian, satirist, mathematician, courtier, exile, jailbird, swindler, gardener, plutocrat, watchmaking entrepreneur, penal reform campaigner, celebrity, provocateur, useless loan-shark, serial feuder, coward, astronaut, niece-shagger, spy . . . Except ‘astronaut’, obviously. I made that up to check you were still paying attention. But he did shack up with his niece, the filthy old goat. It seems a shame, then, that for most of us nowadays that long and amazing life is compressed into a couple of quotes from Candide and a few apocryphal stories about his table talk. Ian Davidson’s biography is the corrective: here’s the great man in the round.

Not long ago I had an email from a friend, wondering if I’d yet read the new Ian McEwan. Not long ago I had an email from a friend, wondering if I’d yet read the new Ian McEwan. ‘Talk about a bolt from the blue,’ she said. ‘McEwan does slapstick. I never saw that coming.’ She added (unfairly, I thought) that you might class On Chesil Beach as slapstick of an unintentional sort, but her point holds. Here, in a book around a scientific theme of considerable seriousness — global warming and renewable energy — McEwan has written the closest thing he’s ever done to a farce. Told in three chunks, spaced at intervals between 2000 and 2009, Solar is the story of a Nobel-prize-winning physicist on a slow slide to disaster.