Biography

The stark horror of Barbara Comyns’s fiction was all too autobiographical

Barbara Comyns’s reputation rises and falls like a Mexican wave, making her one of the most rediscovered novelists of recent times. She’s credited with anticipating Angela Carter and for being in the vanguard of tackling themes of traumatic dissociation and the realities of childbirth. Yet younger, trendier writers have regularly eclipsed her. Aged 29, Barbara was broke: a single mother who’d weathered affairs, an abortion and a suicide attempt Every fan remembers their first Comyns novel: the visceral jolt of black humour, the suckerpunch of stark horror. Knowing that she drew from life, we have longed for a biography, and hooray, it’s finally here. Avril Horner, emeritus professor of English

The lonely passions of Carson McCullers

It may be true that The Heart is a Lonely Hunter (1940) – but in the case of Carson McCullers it could also be an indefatigable and exhausting one. Born Lula Carson Smith into a struggling middle-class family in Columbus, Georgia in 1917, she grew up hungering for great passions – and, like Hunter’s teenage protagonist Mick (her characters often carry gender-neutral names), she fell in love with classical piano at a young age. (Then Carson – not Mick – fell in love with her female piano teacher.) She married young a 20-year-old ex-serviceman named Reeves McCullers who, by all reports, was far more beautiful than her. Then together, almost

The fresh, forceful voice of Frantz Fanon

‘If I’d died in my thirties, what would be left behind?’ is the question that keeps coming to mind reading this timely new biography of Frantz Fanon, the psychiatrist and philosopher who became an icon to leftist revolutionaries across the globe. ‘Would I want history to judge me by what I wrote at 36?’ For that was the absurdly young age at which Fanon died of leukaemia in 1961, leaving two key works to his name: Black Skin, White Masks and The Wretched of the Earth. Not a huge legacy, then, in sheer numbers of words. But it was enough to seal his reputation as both a chronicler of one

The remarkable Princess Gulbadan, flower of the Mughal court

In 1587, the Mughal Emperor Akbar, himself illiterate but with grand vision and even greater ambition, commanded his courtier Abu’l-Fazl to write an official history of his reign and dynasty. An order went around Akbar’s court that anyone who was ‘gifted with the talent for writing history’ should put pen to paper and record the events that had shaped their times. Unusually for a male-dominated society, this included the emperor’s aunt. The 64-year-old Princess Gulbadan was well placed to provide a first-hand description of the creation and consolidation of the Mughal empire, for she was the beloved daughter of the Emperor Babur, who founded the dynasty, and the half-sister of

Four months adrift in the Pacific: a couple’s extraordinary feat of endurance

It is every writer’s dream to glimpse, peeping out from behind a news story or feature, the contours of a book. Brian Masters was eating his breakfast on 12 February 1983 when he read in the morning papers reports of the arrest of a mildly spoken Jobcentre employee accused of strangling a number of men with whose flesh he had blocked the drains in his flat in Muswell Hill. Masters wrote to Dennis Nilsen. Nilsen wrote back: ‘Dear Mr Masters, I pass the burden of my life on to your shoulders.’ After Nilsen had filled 50 prison notebooks, Masters embarked on Killing for Company, surely the grisliest yet most poignant

Will Keir Starmer ever learn to loosen up?

Tom Baldwin declares at the outset: ‘It’s only fair to warn those hoping to find these pages spattered with blood that they will be disappointed.’ Fair enough. This is not an authorised biography, but it is a friendly one, written with Keir Starmer’s co-operation. Baldwin briefly worked as Labour’s communications director, and then was asked to help Starmer with his autobiography. They did several interviews, but Starmer always had reservations and finally pulled the plug last spring. Instead, he agreed that Baldwin could write this book, using some of the material he had already gathered, and that he would assist him with contacts. Starmer’s worst fault, according to his friends,

Four dangerous visionary writers

‘The production of souls is more important than the production of tanks… And therefore I raise my glass to you, writers, the engineers of the human soul.’ The quote is usually attributed to Stalin, though the phrase ‘engineers of human souls’ most likely came from someone else. Who’s to argue? Purges, executions, deportations – what’s a little light plagiarism in comparison? Whoever coined the phrase, it certainly struck a chord and indeed continues to ring various alarm bells whenever one comes across writers who deliberately set out to influence politics and ideas – and not just the big beasts, the Nobel Prize winners, say, or the shopfront-filling non-fiction authors hawking

The strangeness of Charles III

There are two narratives in Robert Hardman’s Charles III. The first is an account of the King’s first year on the throne. This is superbly researched and fascinating. We learn, for instance, that when Queen Elizabeth II died, the state trumpeters were on a plane to Canada and the bearer party was in Iraq. (Their first order on their return was to get a haircut. Their second to carry a comb.) The second is about magic, but since Hardman doesn’t admit this explicitly, the book has the flavour of an intellectual trying to cast a spell. I don’t understand why royalists can’t just say that a monarch occupies a space

Hanif Kureishi – portrait of the artist as a young man

If any novelist, playwright or screenwriter of the past 40 years could be called ‘a writer of consequence’, to use the literary agent Andrew Wylie’s term, it would be Hanif Kureishi. While not shifting units on the scale of his near contemporaries Ian McEwan, Martin Amis and Salman Rushdie, Kureishi’s cultural influence – through his explorations of race, class and sexuality in novels such as The Buddha of Suburbia and films like My Beautiful Laundrette – is inestimable. In this first major biography, Ruvani Ranasinha tracks Kureishi’s progress from his birth in Bromley in 1954 to a Pakistani father and English mother, through his glittering, always provocative career, to the

Milton Friedman – economic visionary or scourge of the world?

The Keynesian economist Nicholas Kaldor called Milton Friedman one of the two most evil men of the 20th century. (Friedman was in distinguished company.) The ‘scourge’ he inflicted on the world was monetarism, a product of what Kaldor called Friedman’s Big Lie – of which more later. Moral judgments aside, how does Friedman rank in the world of 20th-century economists? By common consent, he stands with Friedrich Hayek and John Maynard Keynes at the apex of his profession. All wrestled with the defining problem of their age: the radical economic and political instability of the 1920s and 1930s. Their responses reflected their national situations. Keynes, economically secure and confident in

The horrors of the ‘Upskirt Decade’

The subject that Sarah Ditum addresses in Toxic is why the early part of this century was ‘such a monstrous time to be famous and female. It’s about how the concept of privacy came undone and why that was a catastrophe for women’. The concept of privacy was actually undone by a judge in Tulsa, Oklahoma in 2006. A 16-year-old girl was browsing through greetings cards in a shop when a man crouched down beside her and took photographs up her skirt. A security guard saw him and called the police. The whole scene was captured on CCTV, so there was no shortage of evidence. But the judge ruled that

The data-spew about Bob Dylan never ends

When it comes to Bob Dylan, Clinton Heylin is The Man Who Knows Too Much. Since publishing his first biography, 1991’s Behind the Shades, he has become the world’s most committed Dylanologist, doggedly untwining the facts from the artist’s self-serving fictions. When he describes Dylan’s wildly unreliable 2004 memoir Chronicles: Volume One as ‘all a put-on… all a lie’, he has the receipts. As he never tires of pointing out, scholars and diehards are in his debt, but amassing data from sessions, setlists and now 130 boxes of Dylan’s formerly private papers is not the same as telling a good story. For someone innocently hoping to understand one of the

The force of nature that drove Claude Monet

There have been some really good biographies of artists over recent years and what distinguishes the best of them is their sense of context and a lucid prose free from the jargon of the art historian. In the end, of course, any work of art has to be able to stand by itself, but for Jackie Wullschläger her appreciation of Monet’s paintings has been immeasurably deepened by her sense of the man behind them. ‘My approach,’ she writes, ‘stems from the belief that painters transform the raw material of experience into art’, and that material, both the familiar external events and, more illuminatingly, the inner man, is what she gives

‘We are stuck like chicken feathers to tar’: Elizabeth Taylor’s description of the fabled romance

‘To begin at the beginning,’ intones Richard Burton with a voice like warm treacle at the start of the 1971 film Under Milk Wood. It’s hard to imagine an actor more obviously influenced by his own beginnings. The epigraph to this double biography is ‘The damp, dark prison of eternal love’, a line borrowed from Quentin Crisp. And if that’s an accurate assessment of Burton’s on-off-on-again relationship with the actress Elizabeth Taylor, it’s an even better summary of his childhood in Wales. Born Richard Walter Jenkins to a barmaid mother and a coal miner father (a ‘12-pints-a-day man’ who sometimes disappeared for weeks on end to drink and gamble), as

Keeping a mistress was essential to John le Carré’s success

Adam Sisman is sensitive to the charge that a book about an author’s unknown mistresses is simply an exercise in prurience. ‘I am not one of those who believes sex explains everything,’ he declares defensively. An affair with the wife of a close friend led to the ménage depicted in The Naive and Sentimental Lover But this admirably concise volume justifies its title. Sub-themes such as the practice and ethics of biography, and the emotional toll taken by spying, run through it. But its core relates how, when writing his 2015 life of David Cornwell (John le Carré’s real name.) Sisman was prevailed upon to delete details of his subject’s

Bill Stirling – the brains behind the wartime SAS

‘The boy Stirling is quite mad, quite, quite mad. However, in a war there is often a place for mad people.’ Field Marshal Bernard Montgomery was referring to David Stirling, the man largely credited with raising the Special Air Service (SAS) in the summer of 1941. Myth has always surrounded the formation of the SAS and one of the most abiding legends is that it was down to one man alone, David Stirling, whose L Detachment of six officers and 60 men grew into 1SAS. Gavin Mortimer’s vivid and meticulously researched book, 2SAS, does a good deal to redress the balance. It acknowledges the importance – too long overlooked –

How the Aeneid was nearly destroyed

According to legend, Vergil declared of himself ‘Mantua me genuit, Calabri rapuere, tenet nunc Parthenope: cecini pascua, rura, duces.’ (‘Mantua bore me, Calabria took me; now Naples holds me: I sang of pastures, fields, and leaders.’) In her rigorously researched biography, the American classicist Sarah Ruden shows that this is largely true – even if the author of the Aeneid was in fact born 30 miles from Mantua, in a little village called Andes, in 70 BC.  Ruden must necessarily rely on Vergil’s most influential biography, written by Suetonius more a century after his death. And there’s no reason to doubt the skeleton of Suetonius’s life: that Vergil was unmarried,

Travels in Italy with the teenage Mozart

Between the ages of 13 and 17, Mozart made three trips to Italy, spending some two-and- a-half years in ‘the country at the heart of the opera world’. He would never return as an adult. His mature Italian operas – The Marriage of Figaro, Don Giovanni, Così fan tutte, La Clemenza di Tito – can be traced directly back to these formative teenage encounters and experiences in Bologna, Venice, Rome, Florence and Naples. So argues Jane Glover in Mozart in Italy. A follow-up to 2005’s Mozart’s Women, the book is a lively account of journeys which the composer shared (mostly) with his father Leopold. What dominates initially is the business

The astonishing truth about 007

The novel as a form is a fundamentally capitalist enterprise. It was invented at the same time as capitalism – Robinson Crusoe tots up his situation in the form of double-entry bookkeeping. Its interests dwell on the disparate and unequal natures of human beings and feed off rivalry, social transformation, moneymaking, profit and loss. No rigid feudal society has managed to create an effective school of novelists; and having once struggled through Cement, Fyodor Gladkov’s classic of socialist Soviet literature, I would say that systems dedicated to forcible equality also struggle.   Evident, astonishingly, is just how much in the novels is based on events Fleming had witnessed or engineered

An obituarist’s search for the soul

‘“Deep breath”, says the doctor. I take one and hold it.’ Thus begins the fourth chapter of Ann Wroe’s Lifescapes. It is apt because, although the book is part memoir, part essay on the art of biography, it is really about the breath of life itself. Wroe’s writing is intense and visionary, at times almost ecstatic. Reader, dive in. Wroe has written weekly obituaries for the Economist for 20 years, seeking out seemingly ephemeral moments that unlock people’s lives. ‘Time and again,’ she says, ‘some incident in childhood is the key to a career.’ The composer Karlheinz Stockhausen was delighted by the sound his toy hammer made on pipes and