Book Reviews

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Life and letters | 29 January 2005

In this week’s Cease and Desist Department, it’s Grange Hill. For many tens of thousands of grown men and women worldwide, the names Tucker, Zammo and Mrs McCluskey are enough to induce an instant rapture of nostalgia: the mind’s ear fills with the sardonic, boingy guitar of the theme tune; the mind’s eye with the single sausage of the cartoon title sequence, wobbling forever on the end of its fork. For some time now, this constituency has been catered for by the existence of a non-profit website called www.grangehillfans.co.uk. Now, however, creator Phil Redmond’s Mersey TV, who took over production duties from the Beeb two years ago, are worried about

Per ardua ad . . . ?

Seeing from my window the other day a Eurofighter manoeuvring at low level over the Moray glens, I was reminded once more of the Royal Air Force’s certainty when it comes to knowing what it wants. For here is an aircraft superbly optimised for its role: air-to-air combat against the best the Soviet air force could put up. That there is now no need of such a fighter hardly seems important when you see its sheer flying quality. What does it matter that, say, the Queen’s Lancashire Regiment (and others) will be axed to make room for this magnificent cuckoo in the Defence nest when so many jobs at BAE

Famous for being famous

Mary Robinson: actress, poet, novelist, playwright, feminist and London bus. One could wait over a century for a biography of her and then three come along at once. Had London buses existed in Robinson’s lifetime, contemporary satirists would have leapt at the analogy, as it was widely believed that anyone who could afford the fare could have a ride. Robinson was best known not for her thespian or her literary talents, but for being a grande horizontale, most notably as the first mistress of the Prince of Wales (later George IV). Mary Robinson was born Mary Darby somewhere between 1756 and 1758 (the first of many characteristic obfuscations) and, at

The advantages of sweet disorder

This is a distinguished addition to the select company of books that succeed in adding significantly to our understanding of Jean Monnet’s and Jacques Delors’ European project. Each author has adopted a different framework. Larry Siedentop, in Democracy in Europe, a self-conscious re-enactment of de Tocqueville, approached the EU’s problems of structure and democratic legitimacy through the prism of political philosophy. Hugo Young, in This Blessed Plot, an unrelievedly determinist account of what he saw as Britain’s and the Continent’s manifest common destiny, traced Britain’s uncertain march towards European federalism through the stories of individual participants. Christopher Booker and Richard North’s tour de force, The Great Deception, an indispensable counterpoint

To battle with Sir Baldwin

With a little genealogical effort over three million people in this country can trace their ancestry back to a 15th- century hero called Sir Baldwin Fulford, and his luscious wife, Elizabeth Bozom, daughter of Sir John Bozom of Bozom-zeal. According to our old books of blazons Sir Baldwin was ‘a great soldier and a traveller of so undaunted resolution that for the honour and liberty of a royal lady he fought a combat with a Saracen (for bulk and bigness an unequal match) whom yet he vanquished’. In 1461 he was executed at Bristol, but Sir Baldwin’s spirit lives on, a little in all of us, and a great deal

The year of the rat

‘Ah,’ Robert Sullivan exclaims in this artful book, ‘the excitement, the nail-biting and palpably semi-wild thrill of ratting in the city!’ An otherwise apparently sane American writer and journalist, Sullivan chose to spend four seasons observing the rats in New York’s Eden’s Alley, five blocks from Broadway. Settling down with night-vision binoculars, a folding chair and a thermos, he catalogued the behaviour of ‘his’ rats as they scuttled over soot-peppered ice or foraged through bags of restaurant detritus literally fuming in the volcanic heat of a New York summer. His aim, he said, was ‘to arrive at some truth about rats’. The book that emerged embraces all aspects of Rattus

Talking Haiti triumphantly

A test for you. Viz, the comic now an improbable quarter of a century old, once ran a strip called ‘Harold and Fred’. It was the sort of thing you will remember from the days of Dandy and Beano, little characters running around and falling over, all with the three expressions of thoughtfulness, joy and shock. Except these faces were already familiar, not from films or television, but from the front pages of the tabloids. The strip had a subtitle, ‘They Make Ladies Dead’, and Harold and Fred, living next door to each other, were Dr Harold Shipman and Fred West. In the first of the four frames reproduced in

The melancholy seven

The ordinariness of tragedy, its bread-and-butter nature at odds with Shakespearean grandeur or tabloid-style sensationalism, is the subject of Margaret Forster’s new novel. Is There Anything You Want? examines the lives of seven women in a small town in the north of England. Mrs Hibbert, Edwina, Dot, Chrissie, Ida, Rachel and Sarah are connected through work or illness to the cancer clinic of the local hospital. They share further connections, so that their lives overlap outside the hospital confines: Mrs Hibbert is Chrissie’s aunt by marriage; Edwina’s daughter is Mrs Hibbert’s garden help — just as Ida’s husband was Mrs Hibbert’s mother’s garden boy; Sarah is Dot’s daughter; Ida and

Outcasts of the world

The leprosarium of the Pacific islands in which I once worked was situated next to the Mental Wing, as the psychiatric hospital was known. The lepers derived considerable pleasure and hilarity from watching the antics of the lun- atics through the fence that separated them. This taught me an unedifying principle of human psychology, that the existence of people upon whom one can look down is a great solace in misfortune, no matter how grievous. Generally speaking, however, sufferers from leprosy have had no one upon whom to look down. They have been outcasts, cruelly separated from the rest of humanity and cut off even from their own families. Their

Decline and ascent

As a rule I decline to review books by old friends: it puts either one’s integrity or the friendship at risk. I make an exception of Father Joe because I first read it six months ago, prior to its publication in New York and, while not as overwhelmed as many American reviewers — Andrew Sullivan in the New York Times Book Review placed it in ‘the first tier of spiritual memoirs ever written’ — I did find it an exceptional book that merits its success in the United States. Tony Hendra is the son of an English stained-glass artist from a working-class background, and a mother of Irish — though

Life and letters | 15 January 2005

The presentation of this year’s Geoffrey Faber Memorial Prize — an annual literary award given, in alternate years, to a volume of poetry and a novel — was an occasion for harmony and reconciliation. The party took place on the penthouse floor of Faber & Faber’s offices in Queen Square, but the winner was not a Faber poet. Rather, it was Glyn Maxwell, whose latest volume of poetry, The Nerve, is published by Picador. It was described by the judges as ‘adventurous, deft, mysterious, and intellect- ually as well as emotionally penetrating, the work of a poet who uses all the octaves on the keyboard’. This must have been a

Not poor or lowly

Which is the finest 18th-century building in England? Not a royal palace, not a library, not a cathedral, but a stable block: that designed by James Paine at Chatsworth. It is a faultless piece of architecture with none of the messiness and compromise of buildings intended for mere human habitation. Perfect in siting, perfect in proportion, perfect in its golden stone execution, it is a masterpiece. Horace Walpole thought the masonry of Chatsworth had the ‘neatness of wrought plate’, but that of Paine’s stables has a poetic, Centaurish magnificence, rippling with five different types of rustication (channelled, striated in two directions, pocked and vermiculated). The carving of the Devonshire arms

The man who lost control of Ground Zero

‘Unmöglich! Unmöglich!’ or as we would say — impossible. It cannot be built. It won’t stand up. The initial reaction to Daniel Libeskind’s plans for the Jewish Museum, Berlin, completed (adhering faithfully to those plans) in 2001, might have been more apposite in quattrocento Florence given their somewhat hysterical, God-fearing nature. But one soon becomes accustomed to such firebrand emotion. Here is an architect who wears his heart on his sleeve. Everybody has an opinion on his work. For years, I have fought the ennui brought about by reviewing scores of dry architectural tomes and treatises for my ‘Architecture in Brief’ column in the Times Literary Supplement. I only wish

King’s gambit accepted

Although for more than a century Johann Sebastian Bach has been one of the Western world’s most popular classical composers, it is surprising how little those who love his music know about him as a human being — unlike the others at the top of the list, Mozart, Beethoven, Brahms or Schubert. Bach’s most recent definitive biographer is the Harvard professor Christoph Wolff, who apologises to his readers on the grounds that Bach’s life ‘lacks exciting dimensions and does not lend itself to a narrative that focuses on and is woven around a chronological list of dates and events’. There are no diaries, very few letters, and a shortage of

Sam Leith

Unsparing, frivolous candour

Charles Greville? you may wonder. ‘Who he? — Ed.’ Ed, decently enough, supplies us with the answer. Greville was an idler, a gambler, a political spectator, a cold fish, and a toff’s toff: a political diarist with Alan Clark’s sharpness if not his ambition, who lived from 1794-1865, and wrote from 1814-1860. Greville had a ringside seat for the Reform Bill, a more than nodding acquaintance with Disraeli, Lord John Russell, Louis Napoleon, and all the English monarchs of his age. He barely noticed the Peterloo massacre, was anxious about Catholic emancipation and the French revolution, was able to see both sides of the slavery issue, and lost, without much

. . . and a Parisian bombe surprise

This is a French novel, a very French novel. The author won the Prix Goncourt for an earlier book and this one carries hints of Voltaire and Sartre. The publishers suggest that Piano can be read as a metaphor of life and death, heaven and hell; Dante is invoked. Daunting stuff, you might think. A thin book, it comes wrapped in heavyweight literary packaging — in France Jean Echenoz is rated alongside Beckett and Nabokov. But what lies inside this intellectual bombe surprise is a sharp, airy sorbet that slips down with great ease: an existential thriller of the sort that might once have been turned into a movie by

Striving ever upwards

George Frederic Watts (1817-1904), if never exactly popular, was regarded in his day as possibly the greatest artist in the world. He was the first living artist to be accorded a retrospective exhibition at the Metropolitan Museum of Art in New York and was esteemed in France as few British artists have been, before or since. He was one of the great portraitists of his age. Sadly, though, to a 21st-century audience he has all too little of the accessibility of his younger contemporaries, the Pre-Raphaelites, and until recently was the point at which even many lovers of Victorian painting drew the line. He deplored the very idea of ‘Art