Book Reviews

Our reviews of the latest in literature

Saturday

Jonathan Beckman

Confounded clever

‘C’ is for Caul, Chute, Crash and Call, the titles of the four sections of Tom McCarthy’s new novel; for Serge Carrefax, its protagonist; and for, among other things, coordinates, communication technology, crypts, cryptography, Ceres, carbon, cocaine and Cartesian space, motifs that trellis this book. ‘C’ is for Caul, Chute, Crash and Call, the titles of the four sections of Tom McCarthy’s new novel; for Serge Carrefax, its protagonist; and for, among other things, coordinates, communication technology, crypts, cryptography, Ceres, carbon, cocaine and Cartesian space, motifs that trellis this book. Serge is born at the end of the 19th century on a comfortable country estate to a mother who manufactures

Jonathan Sumption

All eyes and ears

Both of these books aim, in their different ways, to cater for Britain’s long-standing obsession with espionage and other forms of political and military intelligence. Both of these books aim, in their different ways, to cater for Britain’s long-standing obsession with espion- age and other forms of political and military intelligence. But they have virtually nothing else in common. Sinclair McKay’s The Secret Life of Bletchley Park is about daily life at the famous wartime headquarters of the Government Code and Cipher School. There is very little new material to be mined about the work done at Bletchley Park. Its contribution to the course of the second world war has

Raymond Carr

Built for eternity

The Escorial, as a monastery and a royal palace, was the brain child of Philip II of Spain. Built in the latter half of the 16th century, about 30 miles north-west of Madrid, the huge granite complex with 4,000 rooms, 16 courtyards, a basilica, a library and picture gallery as well as the king’s private apartments, came to be regarded as the creation of a cold-hearted despot cut off from the outside world. For Richard Ford, whose 1850 Handbook for Travellers in Spain is the most learned guidebook ever written, the Escorial ‘was as cold as the grey eye and granite heart of its founder’. For the 19th-century conservative Spanish

Montagu Curzon

A dream to fly

Undeniably the Hawker Hurricane has suffered the fate of the less pretty sister. It is the Spitfire, at once beautiful and deadly, that is forever the star of 1940, firmly lodged in the British military pantheon, beside the longbow and HMS Victory, and the Hurricane is in the shadow. Yet it did more of the work, in greater numbers, and with more victories in the Battles of France and Britain. It too was loved and admired. Leo McKinstry, after his definitive books on the Spitfire and the Lancaster, sets out to repair this reputational injustice. His subtitle, ‘Victor of the Battle of Britain’, states the claim clearly. Hurricanes made up

Lewis Jones

Doing what it says on the tin

If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it. Much the same thing has been said by many artists and writers, but seldom has this proposition been so tested as it is by ‘32 Campbell’s Soup Cans’. In the Factory, as he called his atelier, Warhol made paintings of photographs, casually silk-screened prints of blown-up acetates of blow-ups from contact sheets of original negatives, copies of copies, images of images. He inverted high and low culture. He expressed something, defined something, about our psychic relationship to the stuff that surrounds

Francis King

Why, oh why?

In my many years as a judge for the J. R. Ackerley Prize for Autobiography, I have been constantly surprised by the high proportion of books that deal with the subject of adoption. It is usually a melancholy story of young people who, as their 18th birthdays approach, become obsessed with the need to meet their natural parents, only eventually to find themselves being entertained by families with which they have nothing in common; of couples who suddenly discover that the children that they had come to regard as their own have now abruptly given precedence in their affections to total strangers; and of women who, having made the terrible

Christopher Howse

Jail birds

Next to his photographs of 40 women who have spent time in Low Newton prison, Adrian Clarke has juxtaposed short accounts from each of how she got there. Low Newton, near Durham, built in the 1960s and 1970s, holds 360 women, including lifers. Of the 85,000 in prison, 4,400 are women. Is there a face you can call a prison face, as some see in a single mother a pram face? Most look puffy, pale, older than their years and above all tired. Some look scared, a few defiant, none happy. Dazed and confused would cover them. Some are pictured with china figurines, cherubs embracing, or one of those dancing

Saturday

Toby Young Toby Young

The Battle of Britain was won by members of our ‘clapped-out’ ruling class

‘As I write, highly civilised human beings are flying overhead, trying to kill me.’ So began one of the most famous essays in the English language, George Orwell’s ‘The Lion and the Unicorn’, written almost 70 years ago. It’s a much-loved essay thanks to its lyrical invocation of ‘English civilisation’: red pillar boxes, bad teeth, the old maids cycling to Holy Communion through the mists of the autumn mornings, etc. (John Major ‘borrowed’ some of this language when describing what he loved most about Britain.) But it’s worth pointing out that in most respects ‘The Lion and the Unicorn’ was completely wrongheaded. The theme of the essay was that the

James Delingpole James Delingpole

I know exactly what I want to read this summer — if only I could find it

What I thought I’d do this summer holidays is catch up with all those classics I’ve been meaning to read for ages: A la recherche du temps perdu, Moby-Dick, David Copperfield, Crime and Punishment, Madame Bovary, Vanity Fair, everything by the Brontës, anything German, Metamorphosis, the Odyssey, the Iliad, most Balzac, anything by P.G. Wodehouse, Our Mutual Friend, Anna Karenina… But where to start? Our Mutual Friend is out because the wife is reading it and it’s surely a waste to buy two copies. Also, Dickens generally is very Dickensian and I’m not sure how much of that I can cope with on holiday. The Brontës, I think, are more

Sam Leith Sam Leith

The dying of the light | 7 August 2010

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

James Buchan

A foot in both camps

As a five-year-old in the Arab quarter of Jerusalem in the 1950s, Kai Bird overheard an elderly American heiress offering $1 million to anyone who could solve the Arab-Israeli conflict. Tugging on his father’s sleeve, he said: ‘Daddy, we have to win this prize.’ Crossing Mandelbaum Gate, Bird’s memoir of growing up in the Middle East, is full of such generosity and innocence. In 1956, Kai’s father, Eugene Bird, moved his young family from Oregon to East Jerusalem, where he was to serve as American vice-consul in a city divided in two by the 1949 armistice line. Kai grew up in a rented villa half a mile from the lovely

Charles Cumming

Good at bad guys

Thriller writers, like wolves and old Etonians, hunt in packs. In the summer months, roaming from city to city, we can be found at assorted festivals and crime fiction conventions, gathered on panels to discuss the pressing literary issues of the day: ‘Ballistics in the Fiction of Andy McNab’, for example, or ‘The Future of the Spy Novel in the Age of Osama bin Laden’. The high tide of these get-togethers is the Theakstons Old Peculier Crime Writing Festival, which takes place every July, over four days, in Harrogate. This year, the guest of honour was Jeffery Deaver, recognised across the pond as one of America’s pre-eminent thriller writers. To

Inigo Thomas

A smooth passage

Jonathan Raban left Britain and moved to Seattle in 1990, when he was 47. He sold his Volkswagen on his way to Heathrow airport. He bought a Dodge with Washington state plates the next day, and in this second-hand car he would, over the years, travel through and write about his new country. ‘The Pacific Northwest continues to be a magnet — the strongest regional magnet in the country, I would guess — for hopefuls and newlifers of every imaginable cast,’ Raban wrote in the summer of 1993, in a piece that’s now republished in Driving Home: It feels like the last surviving corner of the United States to be

Christian House

A choice of first novels | 7 August 2010

Write what you know. Isn’t that what aspiring novelists are told? Write what you know. Isn’t that what aspiring novelists are told? While two first-timers have taken the advice this summer, there is also an exception to prove the rule. In The Imperfectionists (Quercus, £16.99), Tom Rachman draws on his time at the International Herald Tribune to write a quirky patchwork tale of an English-language newspaper based in Rome. Cyrus Ott, helmsman of an American industrial dynasty, chronicles the paper’s fortunes, from its inception in the 1950s to the Noughties. Interspersed are the stories of the various reporters, editors and readers whose lives are anchored to Cyrus’s grand enterprise on

Lucy Hugheshallett

Raining on their parade

Julius Caesar’s deputy, Cleopatra’s second lover, Marcus Antonius is the perennial supporting act. Julius Caesar’s deputy, Cleopatra’s second lover, Marcus Antonius is the perennial supporting act. In books about Caesar (like Adrian Goldsworthy’s recent biography) or about Cleopatra (mine among them), he appears as a partner, in the ballet-dancing sense of a burly chap whose prime task is to lift a more glittering other into the spotlight. Now he has been allotted half a book: but Goldsworthy is not the man to give him his due of appreciation. Author and subject are absurdly mismatched. Goldsworthy begins by telling his readers that Cleopatra ‘was not really that important’, but he does

Diana Hendry

The French connection

If ever there was a novel to which that old adage about not judging a book by its cover could be applied, it’s this one. If ever there was a novel to which that old adage about not judging a book by its cover could be applied, it’s this one. What you’d expect, picking up Lisa Hilton’s The House with Blue Shutters and seeing, on the front, a nondescript young woman contemplating a blue-shuttered house, is romantic fiction. Historical, claims the blurb. Indeed there’s both romance and history here in a novel that moves between German-occupied France of 1939 and today’s France of second homes and holiday gites. But overall

Blair Worden

A place in the Pantheon?

Hugh Trevor-Roper might have been a great historian, taking his place in the Pantheon alongside the great historians of the past, from Xenophon to Macaulay. But the mark of a great historian is that he writes great books, on the subject that he has made his own. By this exacting standard [Trevor-Roper] failed. Adam Sisman’s assessment, in his compelling new biography (Hugh Trevor-Roper, Weidenfeld, £25), though I dissent from it, is a measured one. It is balanced by recognition of the extent of Trevor-Roper’s achievements. Many of Sisman’s reviewers have been less measured. In the New Statesman, Anthony Howard, after pronouncing ‘the real failure’ of Trevor-Roper’s career to have lain

Friday

Alex Massie Alex Massie

Heffer’s Style Notes

This is good: the Daily Telegraph has published Simon Heffer’s back-catalogue of style notes in which, with exasperated patience, he points out the paper’s mistakes. Read too many of them and you might form the impression that the Telegraph no longer employs sub-editors. Nevertheless, Heffer’s advice is mostly good and, I’m pleased to see, the subject of a new book. I particularly enjoyed the note which began: There are many reasons to avoid using long sentences when writing. An obvious one is that the message is transmitted to the readers most easily when it is concise. Another is that an array of clauses can sometimes cause confusion. When we wrote

Saturday

Taki

Six of the best | 31 July 2010

On board s/y Bushido ‘Trimming the Jib’ is a short essay by Ernest Hemingway and it has to do with the sea. And love. And passion. He wrote it shortly before The Old Man and the Sea, which helped land him the Nobel Prize in Literature. Here it is in its entirety: He ran aground on the same reef as before. Pablo was drunk and dreaming of Conchita. He was always dreaming of Conchita. When he wasn’t dreaming of her he would avoid the reef. But he was always dreaming. And drinking. The reef was hard, not made of mud or sand, but rock. Pablo was old, and his legs

Philip Hensher

A world in a handful of words

Though Lydia Davis probably first came to the attention of English readers through her translations, she has been making a substantial reputation for herself in America with sharp, inventive and demanding short stories. Her field is awkwardness, social ‘leakage’, as sociologists say, and the often bad fit between acts and speech, language and meaning. There is a certain delectable inappropriateness in the fact that some readers (like me) will first have encountered her as one of the translators of Penguin’s 2002 Proust. She did an accurate job, but as a writer herself she could not be much further from that great but voluble and frequently casual writer (your punctuation, Marcel,