Sam Leith

In July 1940, Hitler issued what Nicholson Baker calls ‘a final appeal to reason’. ‘The continuation of this war,’ he said in a speech, ‘will only end with the complete destruction of one of the two warring parties . . . I see no reason that should compel us to continue this war.’ ‘It’s too tantalising, since there’s no shadow of a doubt we will reject any such suggestion,’ Frances Partridge wrote in her diary afterwards, adding the savagely deflating rider: ‘Now I suppose Churchill will again tell the world that we are going to die on the hills and on the seas, and then we shall proceed to do so.

Sam Leith reviews Toby Faber's history of Fabergé eggs What a great idea for a book, this is — and how well-executed. Toby Faber has produced, at just the length to suit it, a hugely enjoyable and informative account of the making and afterlife of the best-known examples of the jeweller’s art. Here is a series of love stories; a historical panorama; a tale of grotesque imperial frivolity, of barbarous totalitarian wrecking and of all-American hucksterism; a parable about the nature of value; and, above all, a portrait of the endless and winning absurdity of economic man in pursuit of shiny gewgaws. The first Fabergé egg was given as an Easter present in 1885 by Tsar Alexander III to his wife Marie Federovna.

At the outset of this rich, dense and polemical primer on the modern history of political violence Michael Burleigh has the good sense to define his terms. He describes terrorism as ‘a tactic primarily used by non-state actors, who can be an acephalous entity as well as a hierarchical organisation, to create a climate of fear in order to compensate for the legitimate political power they do not possess’. A phrase that recurs is ‘propaganda by the deed’, and he adds: ‘that modern states ... have been responsible for the most lethal instances of terrorism ... is taken as a given’. Burleigh doesn’t seek to be comprehensive — South America and indigenous south- east Asian terrorism are largely omitted — but he is impressively wide-ranging.

When Edgar Allan Poe bumped into a friend in New York in 1845, according to Peter Ackroyd’s brisk new life, the following exchange took place. ‘Wallace,’ said Poe, ‘I have just written the greatest poem that ever was written.’ ‘Have you?’ said Wallace. ‘That is a fine achievement.’ ‘Would you like to hear it?’ said Poe. ‘Most certainly,’ said Wallace. Thereupon Poe recited the verses of ‘The Raven’. This lovely little cameo — halfway to being a sketch from The Fast Show — is all the funnier for the fact that the joke is not entirely on Poe. Though maybe not the greatest poem ever written, ‘The Raven’ really was pretty spectacular. Poe knew it.

In the cartoonist Martin Rowson’s comic strip critique-cum-spoof of The Waste Land, Ezra Pound appeared in cameo as ‘Idaho Ez’ — a sort of demented janitor shuffling through the middle of the action, muttering to himself and pushing a broom. This captures, albeit cruelly, a version of the way his reputation survives: opaque, marginal, bonkers — his primary importance in 20th-century poetry if not actually janitorial then that of a curator. The other side of his image, of course, is as a comic turn in the lives of his contemporaries, whether as the loony old anti-Semite in St Elizabeth’s or as the attention-seeking young flâneur described fancifully by Ford Madox Ford: Ezra . . .

The Uncommon Reader by Alan Bennett Since The History Boys transferred first to Broadway and then to the cinema, Alan Bennett has made the journey from national treasure to international superstar. The dustwrapper of this droll novella spends two lines on the London gongs that play picked up, and more than five lines on the American awards (‘five New York Drama Desk Awards, four Outer Critics’ Circle Awards . . . six Tonys including Best Play’), festooned with which he returned to his native Yorkshire. The catalogue of glory reaches a final climax: ‘He was named Reader’s Digest Author of the Year 2005.’ I imagine that would have made Bennett smile when the proofs came through.

This is a book that really ought not to work. Being Shelley is not quite a biography and not quite a critical reader and not quite anything most people will have seen before. If you want to know, in order, what happened in the life of Percy Bysshe Shelley — where he went, who he met, what he did — you’d be best off looking elsewhere. If you’re an undergraduate looking for a line-by-line interpretive guide to his canon, likewise this is not your book.Yet I think Being Shelley will grow to be indispensible to anyone writing or thinking about the poet from now on — a vital companion to the two more conventional volumes that it isn’t.

What a peculiar life it was: born in Poland, exiled to Russia, orphan- ed at 11, and sent to sea at 16. A decade and a half of salt water and solitude in the merchant marine. Then the rest of it spent as an English gent, writing literary novels in his third language (English) under the strong influence of the writers of his second (French). And yet, there he is, slap-bang in the Great Tradition. This biography, first published here in 1983 and now updated and expanded for the 150th anniversary of Joseph Conrad’s birth, has quite some heft to it. Coming to it as an enthusiast, rather than a scholar, of Conrad, I consulted a friend whom I knew to be a Conrad nut to ask roughly where Najder’s book stands in the Conradian conversation.

If nothing else, this biography has to be a candidate for the Title of the Year prize. The fact that it’s about Willie Donaldson gives it a good shout, too, at Subject of the Year. Just amble through the CV: feckless squanderer of inherited shipping fortune; impresario of Beyond the Fringe; ponce (though he was frequently and, he felt inaccurately, described as a pimp); submariner; author of the Henry Root Letters; lover of Carly Simon and Sarah Miles; unsuccessful glass-bottomed boat entrepreneur; geriatric crack-fiend; self-confessed pervert; corrupter of innocence; balletomane; Old Wykehamist. ‘Disgraceful’ he frequently was.

Charles Richter, born in 1900, was, in the words of his biographer, ‘a nerd among nerds: regarded as peculiar and intensely private even by scientists’ standards. And we’re talking about people who put red-and-white bumper stickers on their cars that read, “If this sticker is blue, you’re driving too fast”.’ The only seismologist most of us will ever have heard of was a crumpled, driven, disorganised figure, sometimes kindly and sometimes cantankerous — just as one wants one’s batty scientists to be. He conducted long, cheerful conversations with himself. He was prone to turn up to work wearing two ties at once.

‘Gott for damn, Rhoades, vos you drunk?’ was the indignant outcry of Captain Berndt, as he rowed alongside the Guendolen. Captaining the Guendolen was Berndt’s British friend and drinking partner Captain Rhoades, a man noted for his ‘Rabelaisian wit’ and ‘unprintable songs’, but who had just steamed up to the German end of Lake Nyasa and disabled Berndt’s ship the Hermann von Wissman with a single shot. Rhoades was not drunk. It was August 1914, and the Great War had just — unbeknownst to the unfortunate Captain Berndt — kicked off in Africa. When we think of the first world war we tend to think of exhausted Tommies drowning in freezing mud in the fields of Flanders.

It may have taken until the late 1960s for the expression ‘the personal is political’ to condense an important truth, but — as Lucy Moore’s fascinating new book shows — that truth is not a new one. Liberty tells the story of the French Revolution through the lives of the great salonnière Germaine de Staël, the passionate middle-class ideologue Manon Roland, the kind-hearted flibbertigibbet Thérésia de Fontenay, the feisty former courtesan Théroigne de Méricourt and the much younger Juliette Récamier — whose beauty and chastity (a very rare thing, to judge by this book) caused her to become an icon of the Republic.

Only if you have spent the last few months living in a remote corner of Chad will you not have noticed that this year marks the centenary of Sir John Betjeman’s birth. We have already seen telly programmes, church restoration appeals, commemorative CDs of his readings, Cornish cliff walks and special outings on West Country railways in honour of a man whose genius consisted, as the late Sir Peter Parker put it, in ‘an infinite capacity for taking trains’. Now come two new lives: A. N. Wilson’s snappy and stylish short biography, and a still hefty one-volume boiling-down of Bevis Hillier’s socking three-volume authorised life.

Listing page content here Now comes a war and shows that we still haven’t crawled out on all fours from the barbaric stage of our history. We have learned to wear suspenders, to write clever editorials and to make chocolate milk, but when we have to decide seriously a question of the coexistence of a few tribes on the rich peninsula of Europe, we are helpless to find a way other than mutual mass slaughter. If you had to guess the author, what would you say? George Orwell? Isaiah Berlin? Malcolm Muggeridge? Nope. Those words were written by, of all people, Leon Trotsky, which adds a particularly sour irony to the fact that they are, and remain, exactly right.

Just because you’re paranoid, as the cliché runs, it doesn’t mean that they aren’t out to get you. They certainly were out to get Queen Elizabeth I — and how. Her situation was strange and dangerous. She was a Protestant queen ruling a country the majority of whose citizens remained Catholic. ‘The ancient faith still lay like lees at the bottoms of men’s hearts,’ as Sir Ralph Sadler, a member of her Privy Council quoted here, put it, ‘and if the vessel were ever so little stirred, comes to the top.’ She was obliged to harbour the main Catholic hope for succession, Mary, Queen of Scots, in her own kingdom, albeit under house arrest.

‘We are here on earth to fart around,’ that wise man Kurt Vonne- gut once wrote. ‘And don’t let anybody tell you different.’ Denys Finch Hatton — who was born into the English aristocracy in 1887, and died in a plane crash in Africa not long after his 44th birthday — was one of the great farters-around of all time. That we know of him now is largely down to his long and tortured love affair with the ill-starred Danish coffee-farmer Karen Blixen, who under the pen name of Isak Dinesen described their relationship in Out of Africa. The image most of us have of him, then, is of a tanned and sunny Robert Redford heading non- chalantly to his doom in a Gypsy Moth. Denys differed from Robert Redford in one important particular.