Book Reviews

Our reviews of the latest in literature

Saturday

Honor Clerk

A martyr without a cause

‘Yes, you may well sigh and beat your head on the table,’ the narrator-protagonist of Love Songs and Lies addresses the reader on page 115, but if you’re going to allow Libby Purves’s heroine to get to you this early in the book you’ll be in a bad way by the end. There is a long and melancholy tradition of self-sacrificial heroines to which she all too knowingly belongs, but when it comes to an irritating combination of self-abnegation and sheer wrong-headedness there is not a Fanny Price or Agnes Copperfield in the whole of fiction who could hold a candle to Libby Purves’s Sally Bellinger. The daughter of an

Hugh Cecil

Singing in the mud

This is a courageous and original book. Its editor, Vivien Noakes, is resisting, though not alone (Martin Stephen, Anne Powell, Dominic Hibberd and John Onions could also be cited), a trend of opinion which has shown no sign of receding over the past 50 years: this has effectively labelled Wilfred Owen, Siegfried Sassoon, Isaac Rosenberg, and, at a pinch, half a dozen others as the only true voices of the Great War. The canon, mainly anti-war in outlook and confined almost entirely to the Western Front, has dominated the British anthologies, which in turn have profoundly influenced national perceptions of that war. In fact, for 1914-18, the proportion of optimistic

Digby Durrant

An innocent abroad

Even as a boy Charles knew there was something false about his father Adrian Mainguard. Why? Nobody else did. An internationally famed pianist and composer, blessed with Dionysian looks and a forehead Virginia Woolf described as ‘like a bow window revealing his soul … there was something god-like about him’. Benjamin Britten, Auden, Sackville-Wests and Bloomsburys, all chanted praises. He was married to Edie, the daughter of the chairman of Vickers-Armstrong, and had performed for the royal family at Windsor. But still Charles sensed a flaw in the crystal. At least in his own eyes time was to prove him right. ‘Discovery of the truth about him set the compass for my life.’

Robert Stewart

All too minor to matter

Monarchy, monarchy, monarchy. Are we so addicted to it that we want to read the life of a boy who came to the throne at the age of nine and died six years later? Chris Skidmore seems to think so. His purpose, he says, is to rescue the ‘lost’ Edward VI from the obscurity to which negligent historians have consigned him and resurrect him as ‘a central figure in the Tudor age’. Can it be done? Amid the contest between the Lord Protector, the Duke of Somerset, and his rivals (first his younger brother, Edward Seymour, and then John Dudley, the Earl of Warwick) for control of the Council which

Sebastian Smee

Formal feeling comes good

Contemporary Australian fiction, like Australian film, is known more for its exuberance and antic energy than its reticence and restraint. Deborah Robertson’s Careless, a first novel that has already won her acclaim in her own country, is a marvellous correction to the stereotype. Robertson’s ingredients are simple, but disparate: right to the end, one is not quite sure how they are going to combine. This uncertainty gives the novel an intricate atmosphere of floating suspense. In a moment of murderous rage and insanity, a man drives his truck into a children’s playgroup. Among those killed is the young son of Lily, a neglectful single mother. His older sister, Pearl, survives,

James Delingpole James Delingpole

More than a hint of cordite

The best personal account of tank warfare in the Western Desert is generally reckoned to be Alamein to Zem Zem by Keith Douglas. It is indeed a great book, telling in spare, sensitive, limpid prose how it feels to turn from being a young man with romantic illusions about the nobility of war into a batttle-hardened tank veteran. But because it was written by an upper-class poet there are some elements that are missing. For example, Douglas never mentions how you can tell if a soldier on leave has been involved in a tank battle: for days afterwards, thanks to the constant inhalation of shell fumes in a confined space,

Saturday

Sam Leith Sam Leith

That damned, elusive Prussian

‘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

Michael Gove

Not what Europe wants to hear

Between the revolution and the firing squad, a Russian aristocrat once observed, there is always time for a bottle of champagne. Between the demographic disaster and the collapse of Western civilisation, Mark Steyn appears to believe, there’s always time for a rip-roaring op-ed and a series of blistering jokes. No writer I can think of manages to combine utter bleakness about mankind’s prospects with a genius for one-liners like Steyn. More gloomily pessimistic about our civilisation’s future than Peter Hitchens at a fetish night in Heaven, and yet consistently funnier than any mere humorist or jobbing stand-up, Steyn is a master of gallows humour. And in this book we Europeans

Graham Stewart

To flee or not to flee

‘Why is no one talking about what is happening in our country?’ demands the splash across the front cover of the latest book by George Walden. It is therefore something of a surprise in the pages that follow to find the former Conservative minister discoursing at length on the problems of immigration, terrorism, crime and house prices — all familiar mainstays of the modern conversational canon. To be fair, it is Walden’s contention that these are but contributing factors to a national malaise manifesting itself in the under-reported fact that so many Britons want to leave the country of their birth. What is more, it is not our cleaners, plumbers

Jonathan Keates

How at last we got it together

Stand in the Corinthian portico of the National Gallery’s main building and look due south beyond Nelson’s Column into Whitehall. Your gaze lights upon Hubert Le Sueur’s Baroque equestrian statue of King Charles I, and if your eyesight is especially keen, you might just glimpse a projecting corner of Inigo Jones’s Banqueting Hall. In this trio of eye-catchers lies the fons et origo of our national collection, at least according to Jonathan Conlin in the opening pages of The Nation’s Mantelpiece. For scarcely had Charles stepped out from the Banqueting Hall for his beheading in 1649 than his stupendous assemblage of pictures, with its Raphaels, Titians and Mantegnas, was broken

Fiona Maddocks

The other side of silence

Asked by a journalist whether he went to the opera, John Cage replied, ‘No, I listen to the traffic.’ The remark, often quoted, was less sententious than this abbreviated form would imply. Typically Cage, more interested in communicating than teasing despite his reputation as one of the funniest conversationalists, continued with an explanation: ‘I live in the Sixth Avenue area in New York, and there is lots of noise there. That is my music.’ Ever the pioneer, Cage (1912-92) influenced a generation of composers and artists inspired by his experimentalism. Everything he did was new. Most was little understood at the time outside his immediate circle. He used chance, via

Saturday

Frederic Raphael

Mr Facing- both- ways

The classical scholar T. P. Wiseman decided that, once he had passed his 42nd birthday, his middle-aged hands were no longer apt for writing about the erotic Catullus. In his 90th year, Leo Abse manifests no such squeamishness in this psychoanalytic study of Daniel Defoe. Neither embarrassed nor embarrassing, he sees no reason to abate his hot pursuit of the more or less hidden impulses that, he argues, enabled Defoe to impersonate both Robinson Crusoe and Moll Flanders with such instant insolence. Defoe has been condemned as a hack, an opportunist and a turncoat. He was, by turns, an outspoken dissenter (put in the pillory for his Swiftian, pseudo-High Tory

Interconnect

Magic in the Gulf of Finland

Tove Jansson’s The Summer Book had been published before in this country, but when, two years ago, the enterprising Sort of Books reissued it for the first time in many years, it seemed that its moment had come. I pressed it on a lot of people, often to find that they, too, had discovered this extra- ordinary masterpiece. Something about its quality of rootedness, of unnarrated exploration of a tiny territory strikes a chord just now. It is the opposite of escapist; rather, a hymn of praise to the scrap of land wherever we may find ourselves. It’s a book of the utmost simplicity, and almost without discernible plot. A

Andrew Taylor

The mysterious sign of three

This is the fourth of Fred Vargas’s crime thrillers to be published in English — the third, The Three Evangelists, won last year’s inaugural Duncan Lawrie Dagger for translated crime fiction. Vargas is the pseudonym of a French archaeologist and historian. Don’t let the ‘Fred’ mislead you about her gender. Wash This Blood Clean From My Hands features Vargas’s series hero Commissaire Adamsberg, a Parisian detective who puts intuition above logic and evidence, and who blunders through his investigations with a blend of obstinacy and integrity. The novel opens with him in the grip of mysterious terrors. Eventually Adamsberg attributes his mental state to the news that a woman’s body

Hugh Massingberd

Pooter crossed with Wooster

J. B. Morton, a bluff Old Harrovian survivor of the Somme, succeeded his fellow Bellocian Roman Catholic convert D. B. Wyndham Lewis (‘the wrong Wyndham Lewis’, according to the tiresome Sitwells) as ‘Beachcomber’ in 1924 and wrote the ‘By the Way’ column in the Daily Express for more than 50 years. He eventually signed off in 1975, aged 82, and died four years later. To Morton and Wyndham Lewis (who later became ‘Timothy Shy’ on the lamented News Chronicle) we must give thanks for introducing to newspapers what Michael Frayn, editor of The Best of Beachcomber, described as ‘the superb anarchy of the English nonsense-writing tradition, the brief, devastating parody

Allan Massie

No ladies’ man

‘Walter Scott is unjust towards love; there is no force or colour in his account of it, no energy. One can see that he has studied it in books and not in his own heart.’ That was Stendhal’s opinion, and many even of Scott’s most devoted readers would not dissent from it. Dialogues between his young lovers are, to put it mildly, rarely satisfactory. The idea of his young heroines may be pleasing. One can understand why Victorian schoolboys are said to have fallen in love with Diana Vernon in Rob Roy; she is beautiful, lively and resourceful, a fine horsewoman and gallant Jacobite. John Buchan also succumbed to her

Saturday

Patrick Skene-Catling

Minds boggling in Nebraska

No 007, the hero of Richard Powers’ suspenseful new novel is a cognitive neurologist. The young man who urgently needs help is a mechanic in an abattoir in a small town in Nebraska. It is a welcome relief to read fiction so interestingly unpredictable, humane and educative. Instead of the consumerism, sex and violence of commonplace contemporary entertainment, the drama of The Echo Maker resides in the problem of how to integrate parts of a brain that have accidentally ceased to communicate with each other. Powers makes no concessions to lay readers, but manages to make the significance of psychopharmacological name-dropping perfectly clear in its context. Medical technicalities do not

Michael Carlson

Grace under pressure | 30 December 2006

In Alan Furst’s nine novels, it always seems to be twilight. The second world war is being fought off-stage, or, as in The Foreign Correspondent, approaching with grim inevitability. Furst’s world is one of railway stations filled with steam, dark cafés filled with smoke, lonely hotel rooms filled with apprehension. It is populated by exiles and fixers, journalists and spies, police and politicians, honest, corrupt, or a bit of both. Business is transacted in four languages at once, five if lying counts as a separate tongue. The characters might have wandered in from films, Hollywood noirs shot by German expressionists, French gangster flicks starring Jean Gabin, or black and white Hitchcock.  Furst

Patrick Boyle

An extraordinarily ordinary life

Who is the greatest male film star of all time? Marlon Brando, Cary Grant, Hum- phrey Bogart, Clark Gable and Al Pacino are all contenders and each in his time has topped at least one poll. But my vote would go to James Stewart (or the more familiar ‘Jimmy’, as his biographer, Marc Eliot insists on calling him). Compared with other actors whose careers lasted over 30 years, Stewart starred in the largest number of films that were actually good, and, by good, I mean memorable. When Robert Mitchum, who was himself a considerable star, died the some month as Stewart, in 1997, it was hard to recall more than

Victor Sebestyen

The clash of the armoured megalosaurs

‘If ‘justice were done’, writes Norman Davies in this fascinating and infuriating work, ‘all books on the second world war in Europe would devote perhaps three quarters of their contents to the Eastern Front.’ In the real world, of course, the victors dispense the justice and write the history afterwards. So it is gratifying that there is a scholar around with the skill and passion of Norman Davies to change perspectives about the war and shift the centre of gravity eastwards. Here, rather more than 75 per cent of the action takes place in East/Central Europe, where on a body count most of the lives were lost and on a misery index the greatest suffering took place. Davies sees it as