Book Reviews

Our reviews of the latest in literature

Gay tittle-tattle

The Comintern was the name given to the international communist network in the Soviet era, advancing the cause wherever it could. The ‘Homintern’, a wry play on that, was first coined at Oxford by Maurice Bowra and gladly passed on by Cyril Connolly, Auden and others, inferring an international homosexual network of mutual interest and support. Gregory Woods, in his very first sentence, defines it thus: ‘The Homintern is the international presence of lesbians and gay men in modern life.’ A few pages later he says: ‘There was no such thing as the “Homintern”.’ So which is it to be? And what does Woods mean by ‘modern life’? The opening

Those fearless men, but few

While reading this book in a London café, I was politely buttonholed by an Irishman: ‘Sorry to disturb you, but I saw what you were reading and wondered how far back it went.’ I answered that, as it was a group biography of the men who led the Dublin Easter Rising of 1916, it began with the eldest of them, Tom Clarke, in the mid-19th century. ‘But,’ I added, ‘it goes back further, to Robert Emmet, Wolfe Tone — even Cromwell is mentioned.’ ‘Sure the feud’s much older than that,’ was the gleeful reply. If Ruth Dudley Edwards had been at the table, I imagine she would have said that

Obscure object of desire

Garth Greenwell’s debut novel is as dreary and oppressive as the Soviet-era apartment buildings among which it takes place. But presumably this was intentional. Having grown up in a rural backwater where ‘disease was the only story anyone ever told about men like me’, the book’s American narrator, a teacher in Sofia, seeks to escape shame and tedium by having sex with random men in the toilets beneath the National Palace of Culture. ‘It wasn’t so much pleasure I sought as the exhilaration of setting aside restraint,’ he says: ‘a thrill so intense it was almost suicidal.’ It is here that he meets Mitko, a skinny, covetous Bulgarian whose increasingly

The iceberg cometh

Every second novel is fated to be measured against its predecessor; and that comparison is particularly hard when the debut in question was acclaimed (Jenni Fagan’s The Panopticon was shortlisted for the Desmond Elliott Prize) or held to exemplify some modish literary sub-genre. Fagan’s style was tagged as ‘gritty Scottish realism’, and ill-served by comparisons to Irvine Welsh, which made much of her use of profanity and dialect. But where Welsh’s style has long since descended into shtick, Fagan’s coarseness of language was never more than surface detail. It was clearly in the service of authenticity of voice, and Anais Hendricks, the disturbed but resilient protagonist of The Panopticon, is

London’s burning

Spectator readers know Andrew Taylor from his reviews of crime fiction. Many will also know him as an admirable writer of the stuff. In a recent issue, however, he remarked that there are fewer murders now, and added that this made things difficult for crime novelists. Detection has been taken over by the scientists, DNA providing the solution more reliably than Hercule Poirot’s little grey cells. Find a suspect and DNA will tell you if he dunnit. This is boring. So it’s not surprising that for crime writers the future looks to be the past, where science is primitive and the police have no computer database — where indeed there

The greatest anti-war poem of all

The Iliad begins with a grudge and ends with a funeral. In between are passages, if not necessarily of boredom, to alter the war adage, of lists, pathos, sex, humour, fairytale strangeness (golden fembots, a talking horse) and lyric images, punctuated by moments of pure terror (eyes popped out of heads, a spear throbbing in a beating heart, a man cradling his intestines in his hands). With several new translations in the past year alone, as well as a film in 2004, and recent novels (David Malouf’s Ransom), dramatisations, and book-length poems (War Music by Christopher Logue and Memorial by Alice Oswald), we are clearly, in our era of seemingly

An incurable Romantic

This biography of the craven Romantic and self-confessed ‘Pope of Opium’ concludes with the ominous words: ‘We are all De Quinceyan now.’ His life was shambolic but his legacy is strong. Many spores from his fevered mind have lodged in modern popular culture: his narcotic excursions inspired Baudelaire and Burroughs, his sensitivity to place influenced the psychogeographers Guy Debord and Iain Sinclair, his laconic, jaunty essay ‘On Murder Considered as One of the Fine Arts’ was deemed ‘delightful’ by Alfred Hitchcock, and his Escher-like imaginative double consciousness prompted Jorge Luis Borges to ask: ‘I wonder if I would have existed without De Quincey?’ And yet behold the man himself. Broke,

Matthew Parris

The book that made me a Tory (maybe I’ll give it to Osborne)

His father’s dental cast, writes Graham Greene near the beginning of The Power and the Glory ‘had been [Trench’s] favourite toy: they tried to tempt him with Meccano, but fate had struck’. Trench is a dentist, trapped by his chosen profession in a godforsaken Central American hellhole. Greene ponders the way, when we are very young, that chance events, objects or people may become father to the man. ‘We should be thankful we cannot see the horrors and degradations lying around our childhood, in cupboards and bookshelves, everywhere.’ Too true. Pookie made me a Tory. My new copy of Pookie Puts the World Right has arrived. I’d lost the old

Spectator competition winners: diary of a superfluous man

The invitation to supply a short story entitled ‘Diary of a Superfluous Man’ was inspired by Ivan Turgenev’s novella of the same name. Turgenev’s Tchulkaturin; Pushkin’s Eugene Onegin; Goncharov’s Oblomov: these ‘superfluous men’ are not simply literary types, says the critic David Patterson, but represent a ‘paradigm of a person who has lost a point, a place, a presence in life’. A few submissions contained clear references to 19th-century Russian literature’s hollow men, but there were many echoes elsewhere in the entry of the nihilism, cynicism and fatalism that characterises them. The winners earn £25, D.A. Prince pockets £30, and honourable mentions go to Amanda Nicholson, Jim Campbell and G.M.

Pure and endless light

There has been extraordinarily little bright sunlight in the far northwest corner of Britain over the past year. Damp, drizzling summer, an endless sequence of howling autumnal gales and downpours, a muddy dismal winter. Then at the beginning of February, by some accounts traditionally a season for good weather in northern Scotland, a series of brilliant sparkling days arrived unannounced. While the rest of the country shivered and dripped, the sun in the north bounced off the sea, the hills were brilliant with deep snow, the night sky was clear and starry, northern lights pulsing on the horizon and the moon bright enough to read by. Enough to turn anyone’s

Lost in translation | 31 March 2016

Trencherman was first published in Afrikaans in 2006 and translated into English for a South African readership shortly afterwards, but has only now found a UK publisher. Eben Venter — one of the notable voices in white South African writing post-Apartheid — has been ‘temporarily’ based in Australia for more than two decades, but returns to his home for stories. You can see why. After Disgrace, J.M. Coetzee emigrated to Australia — and hasn’t published a decent novel since. He evacuated his subject. For Africa-born whites, the one thing worse than staying is leaving. The left brain urges you to settle in a safe economy with prospects, where the right

Graphic, bleak and misogynistic

If you could travel back in time, would you kill Hitler’s mother, seek out your old house and play ball with your former self, or locate your (eventual) wife during her unhappy adolescence and punch her violent boyfriends? These are the dilemmas facing Jack, the hero of Daniel Clowes’s latest graphic novel. The murderous attitude towards Hitler’s mother (rather than towards Hitler himself) fits right in with an underlying misogyny throughout. Indebted to Hollywood for most of its ideas and its deficiencies, Patience only squeaks by in the Bechdel test. It begins wittily enough with the tip of a penis, a semi-circle of cervix, and a big white splodge in

Hostage to misfortune

Nordic noir is passé. Now we have Israeli noir. Waking Lions is a mordant thriller written by a clinical psychologist who knows how the mind is tortured by deception, infidelity, obfuscation, suspicion and sex. Eitan Green is a neurosurgeon who, exhilaratedly driving his SUV at speed on the desert tracks outside Beersheba, runs down an Eritrean refugee. As he looks at the body with its cracked skull, he thinks that since ‘he can’t save this man, at least he’d try to save himself’. From that point, Ayelet Gundar-Goshen’s omniscient narrator involves us in a web of lies, guilt, evasion, seduction and moral equivocation. The incident is registered officially as a

Courting Sultana Isabel

The idea for a mechanical cock was never going to work. In 1595 the English ambassador to Constantinople, Edward Barton, advised Queen Elizabeth I that the surest way for her to impress Sultan Mehmed III, the new leader of the formidable Ottoman empire, was to send him a ‘clock in the form of a cock’. Knowing that Mehmed had a growing reputation for psychopathy rather than ornithology — he had his 19 brothers circumcised and then strangled to death — Elizabeth demurred and eventually sent him an elaborate clockwork organ instead. The organ was accompanied by its maker, Thomas Dallam, who spent his first month in Constantinople fixing the damage

‘A good boy trying to be bad’

Robert Mapplethorpe made his reputation as a photographer in the period between the 1969 gay-bashing raid at the Stonewall Inn on Christopher Street and the identification of HIV in 1983. This was the High Renaissance, the Age of Discovery, the Bourbon Louis Romp, the Victorian imperial pomp, the Jazz Age, the Camelot moonshot, the Swinging Sixties of gay culture in New York. In the 18th century New York punished sodomy with death. This was later reduced to 14 years’ solitary or hard labour. By 1950, it was only a misdemeanour. By the Seventies, it was becoming positively fashion-able, like a ten-speed bike or a breadmaking machine. The bulk of Mapplethorpe’s

Following the followers

In his new book Apostle Tom Bissell has an advantage over writers who go looking for Jesus: he can start with human remains. His frame for this uneven combination of travel and Church history is a series of trips to the alleged tombs of the apostles. To flesh out 13 ghosts (the 12 disciples and Paul) Bissell mines the gospels, the work of Church historians both early and late, and the Apocrypha. ‘Without the Apocrypha,’ he admits, ‘the 12 apostles would seem even more irrevocably distant.’ The former disciples of Jesus are an elusive bunch. Destroyed or partial texts throw up discrepancies and cases of contested identity, equivocal traditions set

Sins of omission | 23 March 2016

My last review for The Spectator was of Julian Barnes’s biographical novel about Shostakovitch. A Girl in Exile also depicts the life of an artist favoured by a brutally oppressive regime, this time written by one who was there. Ismail Kadare survived the rule of that isolationist tyrant Enver Hoxha. In some quarters, Kadare has been criticised for surviving. Like Shostokovitch, indeed, he has been accused of collaborating with the regime within which he worked, joining the party and accepting public appointments. It is not the business of a book review to enter into such arguments; but some of the criticisms, made by armchair freedom fighters insisting that others should

Neighbours and strangers

Margaret Forster, who died on 8 February, excelled at writing about complex relationships between women. Even old friends, she demonstrated, can experience jealousy, disapproval or dislike. Here, ‘Sarah’ has changed her name to live incognito on the west coast of Cumbria, in a town chosen at random. When she gets locked out of her house, a bond is formed between her and her elderly neighbour Nancy — whose deceased friend Amy once owned Sarah’s rental and left Nancy a key. Although Sarah is ostensibly the one with ‘a past’ (prison), it was Nancy whom I found most interesting. She first appears as a typical busybody, spying from her window, curmudgeonly