Tuberculosis

Recently I visited Hauteville House, Victor Hugo’s home on Guernsey, now magnificently restored, where he spent 15 years of exile in opposition to the autocratic regime of Napoleon III. His third-floor eyrie, a crystal cage with walls and ceilings of plate glass, resembles a greenhouse. Hugo wrote there, standing at a small, flat-topped desk, gazing out across the water at the distant coastline of France. He slept in one of two adjacent attic rooms. In the other slept a chambermaid, summoned by her master with a few light taps on the partition wall. Vulnerable but resilient, Célina accepts the two francs left under her pillow for a night of sexual

In our godless, post-industrial, hyper-competitive world, rest is seen merely as recuperation: it’s when we man-machines ‘recharge our batteries’, as the cliché goes, before dashing back to the factory or work-station. It’s a negative concept. You rest for a reason, which is to avoid burnout. All you should really do to be happy is read light novels or self-help books, advises Montaigne But as this charming and subtle meditation on the subject from a grand French historian shows, rest used to be far more than just taking time off. It is a religious concept. Take the rest enjoyed by Adam and Eve in Milton’s Paradise Lost. In the Garden of

Death’s great paradox is its inconstant constancy. Its forms and rituals change from generation to generation. In our own era, antibiotics have reduced the chance of a fatal infection, and average life expectancy has risen to our eighties. Direct cremation means we can even ship Auntie Maudie, when her time comes, to the crematorium sight unseen and have her ashes returned via DHL. Our existential encounter with death in society is muted to a murmur. Unlike the Irish and their open-coffin wakes, the English almost never now see a corpse. So it is hard to imagine how our great-great-grandparents lived in a world where fatal fevers struck at random and

Long before Ernest Hemingway wasted his late career playing the he-man on battlefields and in fishing boats, or Norman Mailer wasted an entire career playing Hemingway, Stephen Crane was the most world-striding combative male intelligence in literature. And while he created the template for every ‘manly’ novelist who came after, from Jack London to Robert Ruark, he never sought attention as a man but only as a writer; and he certainly never issued many advertisements for himself. Instead, he almost surreptitiously explored the world’s most violent places with inexhaustible intrepidity. Living both privately and intensely, he wrote some of the most powerful prose of his generation, and died too young