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Book Reviews

Our reviews of the latest in literature

The higher slopes of Parnassus

The Gallery Press, Loughcrew, Oldcastle, Co. Meath, Ireland, www.gallerypress.com ‘August for the people and their favourite islands,’ wrote W. H. Auden in a poem from his early Marxist phase. This holiday season brings from our adjoining island a parcel of poetry better suited to Christmas or some elate private festival, a salvation of riches. Literary beachwear is usually marketed as undemanding: thrill- ers, Aga sagas, bonkbusters and the like.  The secret is to stick to good poems. Reading them requires fierce brief sensual attention akin to lovemaking itself. Afterwards you can doze again in the sun or over a novel.  Seamus Heaney’s previous collection, Electric Light, disappointed some of his

Endearing, fleeting charm

It has often been said that the popularity of J. M. Barrie stands as a warning to those who think they understand the Edwardians and much the same is true of Tom Moore and the Age of Romanticism. With the exceptions of Byron and Scott, Moore was by far the most successful literary figure of his day, and if his success clearly had more to do with personality and charm than anything he actually wrote, just how much charm does a man have to have to get away with verse like this? ‘Alla illa Alla!’ — the glad shout renew —‘Alla Akbar!’ — the Caliph’s in Merou.Hang out your gilded

Vanity Fair in W.11

Veiled roman-à-clef novels of this kind are routinely hyped by their publishers as being certain to cause uproar and mayhem. Often they do nothing of the kind and pass almost unnoticed. Rachel Johnson’s acerbic and well-observed bitch-up of life on a Notting Hill communal garden justifies the copious pre-publicity, and I can report that early copies are already playing very badly in the yoga and pilates classes of W. 11, and in the numerous organic food shops and boutiques where the real-life counterparts of her characters assemble. By the time the schools go back in September, and the full Notting Hill brigade has remarshalled in the hood after the summer,

A sort of decade

The Sixties are there in the first sentence of the first chapter of this social, political and cultural history of the decade: On the first day of October 1963, as the earliest whispers of dawn were edging across the cliff tops of the Yorkshire resort of Scarborough, the new leader of the Labour party nervously paced up and down the carpet of his hotel suite. They are there in the first sentence of the second chapter: Shortly after four o’clock on the afternoon of Friday, 16 October, a sleek black Daimler eased through the rain into the forecourt of Buckingham Palace. And in the first sentence of the third chapter:

Lloyd Evans

The primrose path to holiness

‘No thanks. Too much sex.’ Thus an elderly friend dismissed my offer to lend him John Stubbs’s compendious biography of John Donne. His fears are groundless. Stubbs tells us virtually nothing about the paramours who inspired Donne’s youthful poems, partly because no new information is available and partly because the poet’s exquisite testimony on the subject renders further details superfluous. Instead he focuses on Donne’s struggle with his religious conscience, a conflict which typifies the difficulties faced by England’s religious communities in the early 17th century. Donne was born a Catholic during the reign of Elizabeth I (he was the great-great-grandson of Sir Thomas More) and he was sent to

An exception to most rules

Waiting for the second volume of a good biography is a painful process. I feel very sorry for anyone who read Brian McGuinness’s excellent Young Ludwig (part one of the life of Wittgenstein) when it was published in 1988. The philosopher’s exciting story broke off in 1921 and fans have been left dangling ever since in an 18-year state of suspended expectation of a sequel. As far as I know Dr McGuinness is alive and kicking and still regarded as the world’s greatest expert on Wittgenstein, but too much time has passed and slowly we must adjust our sights to the sordid possibility that there may never be a second

Sam Leith

A not so cuddly teddy bear

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. Though it’s a matter for

Double rescue from the cold

‘I am entirely against the promotion of a sense of humour as a philosophy of life,’ wrote Kate O’Brien, with just that chilling aloofness that marks out her two heroines in The Land of Spices. Mère Marie-Hélène, Reverend Mother of the convent school of La Compagnie de la Sainte Famille in Mellick (a fictionalised Limerick), and Anna Murphy, her youngest pupil, each form a single deep emotional attachment — Reverend Mother to her father, Anna to her brother Charlie. Both attachments fall victim to human frailty (sexual transgression on Reverend Mother’s father’s part, the physical weakness of the human body when pitted against the elements in Charlie’s case), and nun

A small stir of Scots

I wonder how much my enthusiasm for Alexander McCall Smith’s stories about Precious Ramotswe, the founder of The Ladies No. 1 Detective Agency, came from reading them while in a French hospital recovering from an emergency operation?  Grateful to be transported from my hospital bed to Botswana and find myself in her company I wouldn’t have heard a word against her. And when his first Edinburgh book came out called 44 Scotland Street, where years ago I once had digs, did I allow a nostalgic bias to creep in? But here’s Love Over Scotland, and I have no excuse for any bias, nostalgic or otherwise. Many of the original cast reappear.

A thousand bottles of Mumm

The front cover shows a mature English beauty in an Oriental doorway, elegant in a turban, with twinset and pearls. On the back is a Country Life portrait of a radiant English rose. Both are Ann Allestree, who for 30 years supped at the high table of grand society, travelled, and set down her impressions. Seize the Day is an insider’s view of the wilder reaches of privilege. She met ambassadors, Eastern potentates, and enduring stars — Freya Stark, Harold Acton, Rebecca West. English eccentrics wander through her pages — barmy lords, batty old ladies, posh grotesques to set a Marxist drooling. Lord Binning invites her to dinner, and waves

Papa on the warpath

In 1961, when he was 62, Ernest Hemingway shot himself. Almost half a century later, this bombastic, vainglorious, paranoid man, whose writing captured the minds not only of his own generation but of all subsequent ones, still exercises a powerful attraction for biographers. Though no one has yet written a better account of Hemingway’s unhappy and driven life than Carlos Baker, whose 700-page volume appeared in the late 1960s, scholars, historians, journalists and biographers continue to tease out little known aspects of it, chipping at fragments of the past, rearranging them into new patterns and mosaics. In The Breaking Point, Stephen Koch has turned to the Spanish civil war, following

Getting the maximum pleasure

The premise of John Sutherland’s new book is that many people wrongly think of reading as an all-or-nothing ability, like, say, tying one’s shoes: either you can do it or you can’t. Such people would no doubt consider a book about how to read a novel as irrelevant as one titled How to Eat Crisps — and yet, Sutherland maintains, reading a novel well is almost as difficult as writing one well. Perhaps the word ‘reading’ itself is the problem. Strictly speaking, reading is something you can either do or not do, and it’s not terribly difficult. We say that novels by Proust or Pynchon are ‘difficult reads’, but in

Unforgetting

The arc and light and breadth and nothing kempt,Flat shining fields of sand, the shallow-carvingTigris and Euphrates of the beach streamsWhere individual flying grains are seen,The wet compactions out of which grew keepsI slopped moat water on at the end of the day,Playing decay and knowing I was loved,Coves where my face would drop past the waterlineInto the wallowing playfully-deadly force,Blue-black rock, its surface softened by water,Broad outcrops, models of a savage planet,Clammy caves whose ground no man had trod—A language I absorbed, forgot I knew,Restarting after a sleepy train’s long snaking.

The master left without masterpieces

Sir John Soane is London’s lost architect. You can visit his museum in Lincoln’s Inn Fields, and the picture gallery he designed at Dulwich. But since his death in 1837 his greatest masterpieces have gone. The Victorians demolished the law courts at Westminster, and the glittering royal entrance to the House of Lords. The RAC club-house stands on the site of the Marquis of Buckingham’s palace on Pall Mall. His Bank of England was demolished in the 1920s —– to Nikolaus Pevsner the city’s greatest loss of the 20th century. Happily, this book by the architect Ptolemy Dean brings into the balance a multiplicity of new discoveries. It is the

Surprising literary ventures | 16 August 2006

Cry Shame (1950) by Katherine Everard Cry Shame! is the torrid tale of a 13-year- old girl who leaves home to become a dancer: in her brief career she learns things she is too young to know, runs off with a man four times her age, assiduously breaks the seventh commandment, has an affair with an ‘ambisextrous’ Hollywood screen idol and ends her harlot’s progress in a seedy hotel room with sleeping pills and bourbon. ‘Definitely adult reading!’ bawled the Cincinnati Enquirer. ‘Frank and revealing!’ ululated the Dayton Daily News. What no one knew at the time was that Katherine Everard was a fresh-faced young man called Gore Vidal. Short

The Prince and the F

Anyone interested in the history of Germany, of nationalism or of dynasties will be gripped by this book. Born at the start of the 20th century, heirs of an ancient German dynasty, Princes Philipp and Christopher of Hesse-Kassel were good-looking, modern young men. English was their second language, Queen Victoria’s liberal daughter the Empress Frederick their grandmother. No other German princes, however, rose so high in the Nazi party. Prince Philipp became a member of the Nazi party and the SA in 1930. Prince Christopher joined the SS in 1932. The timing of their adhesion, before Hitler came to power, proves its sincerity. Their mother ‘Mossy’ invited Hitler to tea

A member of the awkward squad

On an autumn Saturday in 1944 Private Robert Prentice, an 18-year-old rifleman trainee, makes a long journey from his camp in Virginia to New York City, to see his mother. He is soon to be sent abroad, France most likely, and there he’ll see action, which will at least be a change from tedious, thankless camp duties. ‘Oh, Bobby!’ exclaims his ageing mother as she greets him. ‘My soldier! My big, wonderful soldier!’ A touching tableau, one would think, except that it’s riddled with falsity. Alice Prentice is a self-centred, self-indulgent, attitudinising spendthrift, who will occupy herself during Bobby’s long and endangered absence with plans for him to rescue her

Meandering with a mazy motion

Kate Atkinson’s previous novel, Case Histories, was a successful experiment in crime fiction. One Good Turn is its sequel. In the first book, which was set in Cambridge, Brodie Jackson was a standard-issue private eye — ex-army, ex-police, with a broken marriage and a penchant for country music. Now, thanks to a £2 million inheritance from a grateful client, he’s an ex-private eye with a house in France and a swimming pool. Another legacy from Case Histories is his lover Julia, an actress in the Nell Gwyn mould, both physically and emotionally. Brodie and Julia are in Edinburgh, where Julia has a role in a doomed Fringe production, largely funded