Boyd Tonkin | The Spectator columnists & writers

We’ve all met the sort of facetious oaf who orders any non-giggling woman to ‘Cheer up, love, it might never happen’. As Timothy Hampton grasps, enforced cheeriness feels about as much fun as compulsory games. His invigorating book about the quest for true cheerfulness in literature and philosophy dismantles the various ‘prosthetic or counterfeit’ versions of the real thing that bullies, bosses, self-help gurus and household tyrants inflict on their victims. Jane Austen’s heroines, as he shows, chafe against the elevation of cheerfulness into a ‘social norm’. It suffocates them like stays: ‘Thou shalt be cheerful, at least if thou art woman.’ For sound reasons, the prospect of cheerfulness fails to gladden many modern hearts.

Snafu at Slough House: Bad Actors, by Mick Herron, reviewed

Reviewers who make fancy claims for genre novels tend to sound like needy show-offs or hard-of-thinking dolts. So be it: here’s mine. Anyone who tries to understand modern Britain through its fiction but overlooks Mick Herron’s satirical thrillers merits a punishment posting to the critics’ version of Slough House. That noxious midden of a building opposite the Barbican, its leprous chambers groaning like ‘the internal organs of some giant, diseased beast’, is a sort of landfill site for failed spies. Herron first opened its flaking doors in 2010 with his novel Slow Horses. Seven books later, his squad of borderline sociopath rejects from polite espionage has risen to the dignity of a luxury cast series on Apple TV+.

From Mrs Dalloway’s West End to Tolkien’s Middle-earth

Professor David Damrosch, the director of Harvard’s Institute for World Literature, fell in love with ‘a fictional realm that I’d never imagined’ in 1968. His English teacher, Miss Staats, gave him Laurence Sterne’s Tristram Shandy. This horizon-stretching Manhattan educator turns up again in another light towards the end of this book. A long-term girlfriend of Saul Bellow, Maggie Staats prudently said no when the novelist proposed to her. At this point, Damrosch has just told us that the hero of Bellow’s Henderson the Rain King remembers having ‘dreamed at the clouds from both sides’, so planting an idea in the young Joni Mitchell’s mind. You get the drift. Despite its Pelican livery, Damrosch’s lockdown project is no sobersided textbook.

A broken nation: Chronicles from the Land of the Happiest People on Earth, by Wole Soyinka, reviewed

One of the best episodes in Wole Soyinka’s third novel (his first since 1973) takes place not in Nigeria but in Salzburg. An engineer-turned-entrepreneur has died in hospital there after a bomb attack back home. His grasping clan descends from Lagos to parade their last respects — and stake their claims. The drive to the cemetery triggers a ‘torrent of eulogies to Austrian horticulture’. In a ‘concerted sibling gush’, plutocratic relatives swoon over the contrast between these clean, green vistas and the choking inferno of Lagos — an urban nightmare aggravated by their own mercenary scams. Soyinka’s characters often hide behind such ‘straw masks’ of pretentiousness, hypocrisy and fakery. The ghastly good taste of these Alpine obsequies raises his game; after all, ‘the dead are a free-for-all for the world to feast on’.

The power of the translator to break nations

No one ever raised a statue to a translator, disgruntled adepts of that art sometimes complain. I beg to differ, since I’ve seen one: the handsome monument to the 12th-century scholar-physician Judah ibn Tibbon, ‘patriarch of translators’, beneath the Alhambra in Granada. But if the brokers between languages and cultures still lack many bronze or marble tributes, the books that celebrate their calling have begun to pile higher. A few of them retaliate against the downgrading of translation skills with a mystagogic tone which repels curious civilians. Which makes Anna Aslanyan’s wide-angled and reader-friendly tour of her profession’s many roles, in literature, politics, law, diplomacy, business and data science, all the more welcome and appealing.

A Danubian Narnia: Nostalgia, by Mircea Cartarescu, reviewed

Mircea Cartarescu likens his native Romania to a Latin American country stranded in eastern Europe. Certainly, his writing delivers not the pared-down parables and ironies of his self-exiled compatriot (and Nobel laureate) Herta Müller, but a rainbow-hued riot of fantasy, imagination and invention. The gender-switching narrator of ‘The Twins’ — one of five linked tales that make up Nostalgia — urges his lover to remember that ‘under the obscene rococo of our world and flesh, our bones are gothic and our spirit is gothic’. That feels about right, although Cartarescu fills his grotesque and hallucinatory scenes with tropical warmth, colour and light on top of the sepulchral chills of old Europe. If you looked for the perfect director to film Nostalgia, a joint effort by Guillermo del Toro and Terry Gilliam might just do the trick.

The dictator of the dorm: Our Lady of the Nile, by Scholastique Mukasonga, reviewed

In the cloud-capped highlands of Rwanda, even the rain-makers sound like crashing snobs. When two teenage pupils from Our Lady of the Nile lycée slope off to consult the sorceress Nyamirongi about some boyfriend trouble, she sizes up their genealogies and comes over all Mitford duchess: ‘You’re not from very good families. But nowadays they say it no longer matters.’ Like so much in Scholastique Mukasonga’s novel, it’s a comic scene with a rumble of menace in the background — akin to the rainy season’s distant thunder in these lush, green hills. Where you belong — your people, your connections, your identity — has been a matter of life and death before. Soon it will be again. Raised in Rwanda, Mukasonga fled into exile in 1973, first to neighbouring Burundi and then to France, when an earlier wave of persecution targeted the country’s Tutsi minority.

Algeria’s War of Independence still leaves festering wounds, two new novels reveal

In France, even the car horns yelled about Algeria. A five-beat klaxon blast — three short, two long — signalled Al-gé-rie Fran-çaise. In the early 1990s, I slunk into a rally held by Jean-Marie Le Pen in Nice to find that for the ranks of cropped, thickset pieds noirs in leather jackets, the bloodbaths and betrayals three decades back in Oran, Constantine or Algiers drove what they thought and how they voted. A generation later, Algerian migrants or returnees — Arab, Kabyle, European — now have second- and third-generation families. But the atrocity-littered independence war of 1954-62, and its gruesome aftermath, remain festering wounds. France, as President Macron put it in July when he charged the historian Benjamin Stora to report on the conflict’s public memory, still suffers from its badly healed scars.

In search of Noëlle: Invisible Ink, by Patrick Modiano, reviewed

At some point in his twilit, enigmatic novels of vanished lives and buried memories, Patrick Modiano likes to jolt his reader with a glimpse of the all-too-real horrors that underpin his work. In Invisible Ink such a moment comes when the narrator recalls images from a postwar trial, where ‘behind the accused were about 30 suitcases — the only remaining traces of persons who had gone missing’. You might say that Modiano has spent a literary lifetime opening those suitcases to find out whose lives they contained. Born in Paris in 1945 to a Belgian actress mother and a Jewish father who had survived the Occupation by weaving through an underworld of shady deals, he grew up in a family microclimate of evasion and oblivion.

Full of desperate longing: Unquiet, by Linn Ullmann, reviewed

The scrawny little girl with ‘pipe-cleaner legs’ wants to feel at home with her parents. But father and mother live mostly apart —the former in Sweden, the latter in Norway or New York — and the trio fails to bond: ‘It was never us three.’ Her famous father is a migratory sage with ‘a unique talent for partings’, obsessively orderly and punctual but happy to let this youngest child (of nine, by five wives, and the girl’s unmarried mother) grow up ‘without any plan or direction’. Her mother, often dubbed the father’s ‘muse’ (though never by the father), fills the planet’s screens with beauty ‘of the sort that belongs to everyone and no one — like a national park’. Every summer, though, the father comes to rest, and plan, and write, on a gale-swept Baltic island ‘in the long, narrow house surrounded by sea, stones, thistles, poppies, and barren moors’.

Stockholm syndrome: The Family Clause, by Jonas Hassen Khemiri, reviewed

Some faint hearts may sink at the idea of a torrid Swedish family drama peopled with nameless figures identified only as ‘a grandfather who is a father’, ‘a sister who is a mother’, and so on. Stick around: this gets better. That grandfather, an immigrant trader who ‘could sell sand to a beach’ or ‘wind to a hurricane’, remembers his first taste of Swedish TV: a child- ren’s programme featured ‘two different coloured socks with sequins for eyes’ discussing ‘how vital class struggle was for a happy society’. Later, after the long-distance skating, came ‘a documentary about Latin American poets or Ukrainian beekeepers’. The granddad would meet his entrepreneurial mates (Peruvians, Poles, ex-Yugoslavs) by the Stockholm waterfront to gossip, deal and lament the ‘Swedish flu’ that ‘slowly suffocates you’.

Foreign fields: Boyd Tonkin chooses his favourite shorter classics in translation

If I had a rouble or a euro for every reader who fulfilled their lockdown promise to devour Dostoevsky, Tolstoy or Proust my bank account would hardly grow by a single penny. Duty, guilt and pride never made the pages turn more swiftly, whatever a book’s length. Almost all vows to catch up on doorstopper classics from the global canon will have failed to outlast the fallen blossoms. Yet you might more realistically blend discovery and delight by exploring some of the smaller miracles of great fiction in translation. Freshly completed, in first-rate new translations, the 75 volumes of Georges Simenon’s Maigret mysteries bear witness to a Penguin Modern Classics project of majestic scope and unflagging quality. Chaste, chiselled prose; piercing psychology; surgical scene-setting — in Paris and provincial France — of keyhole precision; gnawing moral complexities: a multi-course feast awaits newcomers to the Belgian master.

Sinister toy story: Little Eyes, by Samanta Schweblin, reviewed

We often hear that science fiction — or ‘speculative’ fiction, as the buffs prefer — can draw premonitory outlines of the shape of things to come. Well, consider the case of this novel by an acclaimed Argentinian-born, Berlin-based writer, first published in Spanish last year. Little Eyes imagines a gadget (nothing fancy really, just a plush animal toy with camera and wifi implants) that creates a private but silent connection between its owner anda single, remote watcher. The ‘keeper’, who buys the $279 electronic pet known as a kentuki, doesn’t know the identity of the ‘dweller’, who pays to observe another life from afar and who can move the felt-covered ‘big stiff egg’ around the keeper’s home a bit, like some stair-averse miniature Dalek.

Albanian literary icon Ismail Kadare revisits ‘home’

Ismail Kadare is a kind of lapidary artist who carves meaning and pattern into the rocky mysteries of his native Albania. Born, like his frenemy the Communist dictator Enver Hoxha, amid the blank-faced mansions and feuding clans of the ‘stone city’ of Gjirokaster, the novelist has always framed the terror, secrecy and confusion of the regime as a family affair. The usual comparisons with Kafka and Orwell underplay the sheer, gut-twisting intimacy of politics and power in his work. It baffles outsiders who want to label Kadare either a brave dissident or a complicit stooge. Ideology be damned: this is, and always was, strictly personal. The Doll even wonders whether ‘tyranny is a real thing or something one projects oneself.

Making mischief: J.M. Coetzee’s The Death of Jesus is one almighty tease

Late in this final volume of a tantalising trilogy, we hear that its enigmatic boy hero ‘would never tell you his meaning directly. Always left it to you to puzzle things out.’ That verdict surely applies not only to the trio of gnomic novels that ends with The Death of Jesus. It fits the entirety of John Coetzee’s utterly lucid yet fiendishly elusive work. The South African Nobel laureate, resident in Australia since 2001, began his weird, stark but oddly hypnotic series of stories about an immigrant to a Spanish-speaking land and the ‘exceptional child’ he adopts with The Childhood of Jesus in 2013. The Schooldays of Jesus followed, and saw the gifted but brattish David shine as a prodigious dancer in the care of his often nonplussed guardian, Simón, and devoted adoptive mother, Inés.

Living life to the full

In 1971, Tove Jansson paid one of her many visits to London, where 1960s fashion hangovers made the whole city look like ‘one big fancy-dress ball’. When not partying to celebrate 20 years of British editions for her Moomin books, she and her life-partner ‘Tooti’ — the artist Tuulikki Pietilä — caught performances of Hair (‘a grand glorification of psychedelic hippiedom’) and the ‘racy’ Canterbury Tales musical. They also saw that ‘incredibly powerful’ film, The Trials of Oscar Wilde — ‘very unlikely to come to Finland, unfortunately’. Foreign admirers sometimes presume that, in postwar Finland, Jansson found it easy to be both a saintly godmother of children’s literature and a (fairly) openly gay writer-artist.

In praise of Tove Ditlevsen — the greatest Danish writer you’ve never heard of

Pick up a Penguin Classic from a cult Danish author who ‘struggled with alcohol and drug abuse’ and took her own life aged 58, and you may have one or two prior expectations. They will probably not include a flirtatious dinner with an enthralled Evelyn Waugh (‘so attentive and kind’) in a Copenhagen restaurant so quiet that ‘we could hear the thumping of ships’ motors far out on the water’. Tove Ditlevsen and the ‘vibrant, youthful’ Waugh have their evening spoiled when her third husband — a crazy, drug-pushing medic — turns up in his motorcycle leathers to drag Tove away for her bedtime injection, plus a bout of rougher than usual sex that leaves her spaced-out, ‘limp and blissful’. The author of Vile Bodies himself might have composed this scene from the late 1940s, when Ditlevsen (born 1917) had already published several acclaimed volumes of poetry and fiction.

Between the devil and the deep blue sea

Death by water haunts the stories of Africans in Europe that flow through this fourth novel by Helon Habila. From the drowning of Milton’s swain Lycidas (a sort of tidal refrain for the book) to the capsized boat in the closing pages that offers victims in their hundreds to the ‘enraged leviathan’ of the sea, the imperious waves help wash these personal histories in an aura of myth. Whether privileged or penniless, the migrants whose journeys fill this episodic fresco of a work all crave the stories ‘traded as a currency among homeless, rootless people’. They hunger for narratives because ‘the water they all crossed to come here has dissolved the past’. Brought up in Nigeria and now (like so many African authors) a professor in the US, Habila spent a year in Berlin as a fellow of the famously munificent German exchange service for artists and academics, the DAAD.

Mocking the mandarins

Stendhal likened politics in literature to a pistol-shot in a concert: crude, but compelling. When that politics largely consists of machinations within the European Commission in Brussels, readers may fear that the writer who pulls the trigger wields no more than a pop-gun. Yet the Austrian author Robert Menasse has scoured these corridors of power — and powerlessness — to furnish a thoroughly entertaining fiction that serves both as a sort of campus satire and a novel of ideas. For sure, Menasse has an agenda. His nicest characters tend to believe in the ‘post-national democracy’ of EU integration. Still, their efforts to sell the Brussels system as ‘the moral of history’ pass through enough comically convoluted byways to give succour to sceptics too.

A tragic fall from grace

Nurture hatred in your heart and you will keep ‘an unfed tiger in a house full of children’. A man who passes on a plausible lie ‘may be offering a rattlesnake in a calabash of food’. Someone who lugs grievances around carries ‘a full pitcher of resentment from which, every step or so on its rough journey through the worn path of life, a drop or two spilled’. This second book from the young Nigerian author whose debut, The Fishermen, reached the Man Booker shortlist does not quite escape that difficult second novel syndrome. It’s overlong, raggedly structured and freighted with rambling digressions. Yet almost every page trumpets the gifts of a writer who can make his language soar, wheel and pounce like that pitiless avian deity the hawk, ‘borne on violent wings and merciless talons’.

Another tale of star-crossed lovers

It’s hard, in Britain, to imagine a popular museum devoted to a single poem. The Polish city of Wrocław hosts just such a shrine. It celebrates Pan Tadeusz, the verse novel written in his Parisian exile by the poet, dramatist and freedom fighter Adam Mickiewicz in the early 1830s, and now taught as a keystone of collective identity to every Polish schoolchild. Even the idea of a ‘national epic’ sounds like a great big bore, especially as the action of this one turns on a sideshow in the Lithuanian backwoods during the Napoleonic wars, while ‘the wide world ran riot/ In blood and tears’. Certainly, no previous translation has done much to persuade readers of English that Mickiewicz’s boondocks yarn of feuding, boozing gentry possessed by ‘the devil of vengeance’ merited their reverence.

Impish secrets

Long ago, I interviewed Edmund White and found that the photographer assigned to the job was the incomparable Jane Bown — a bit like having Matisse turn up to decorate your kitchen. After we talked, Jane shot. She managed to convert a tiny hotel courtyard into a sort of antique Grecian glade. In her pictures, White peeped through the foliage with the smile of some demonic faun come to spread ribald chaos in the service of the great god Pan. I remembered that look when, in this patchwork of pieces about his life as a reader, he discloses that a heart attack followed by surgery in 2014 had one weird outcome. Temporarily, he felt ‘no desire to read’. The prolific author, critic, memoirist, biographer and teacher who had first slipped through a ‘magical portal’ into books as a ‘fierce little autodidact’ in the postwar Midwest now shed all sceptical curiosity.

The heart of Colombia’s darkness

What makes Colombia remind me of Ireland? It’s not only the soft rain that falls from grey skies on the emerald uplands around Bogotá. In both countries, ingrained habits of courtesy and charm can smooth over the jagged rifts left by a history of strife. Raised in Bogotá, and living there again after a decade in Barcelona, Juan Gabriel Vásquez writes novels in which elegant mazes of legend and rumour lead, step by graceful step, into the guilty secrets of ‘this country sick with hatred’. Perhaps only an accident of genius enthroned Gabriel García Márquez, with his hyperbolic Caribbean imagination, as the carnival king of his nation’s fiction. With Vásquez, in contrast, characters throw up a veiling mist of polite refinement and witty euphemism, of hearsay, anecdote and speculation.

A thing of shreds and patches

On the wall of her tumbledown house in central Baghdad, an elderly Christian widow named Elishva has a beloved icon of St George with his lance raised. She chats with the saint like an old friend, but wonders why, in the picture, he stays frozen mid-thrust and why ‘he hadn’t killed the dragon years ago’. As her ravaged city suffers an interminable ‘binge of death and devastation’, Elishva frets that ‘everything remained half-completed’, three years after the Anglo-American invasion of Iraq in 2003. During the blood-soaked interregnum, which continues to this day, monsters breed. Out of this limbo of unfinished business, from a people suspended in agony between present and past, life and death, Ahmed Saadawi has wrenched a fable that puts a cherished Romantic myth to urgent new use.

Sunlit days and starry nights

In 1990, the BBC’s adaptation of David Lodge’s culture-clash novel Nice Work won an award at a glitzy soirée in London. At the same time, his debut stage play The Writing Game opened at the Birmingham Rep. Malcolm Bradbury, his old friend and partner on the twin tracks of literary academia and serio-comic fiction, had come to Birmingham to stay and see the show. After a starry night in the West End, and ‘a brief whirl around the dance floor’, Lodge sped back home. He arrived at 3.30 a.m., but found that his wife Mary ‘had accidentally locked me out, and I had to throw gravel up at our bedroom window from the back garden to wake her without disturbing the Bradburys’. Mr Pooter may have joined the A-list, but mishaps and pratfalls still dog his every step.

Navigating a new world

In the 1890s, when British-owned ships carried 70 per cent of all seaborne trade, legislators worried about the proportion of foreigners who served in their crews; which could top 40 per cent. Their worry is not surprising, given the verdicts gathered from British consulates in port cities on the native seaman: ‘drunk, illiterate, weak, syphilitic, drunk, dishonest, drunk…’ In 1894, a parliamentary committee interrogated officers about manning and skills in the merchant marine. One informant was a British-naturalised master ‘with 16 years’ experience’. The MPs, who didn’t presume to ask this expert witness specifically about foreign crews, recorded his name as ‘Mr J. Conrad Korzeniowski’. He had, as Maya Jasanoff puts it, ‘come a long way since landing in England in 1878’ as the penniless, orphaned son of Polish gentlefolk, his parents driven into penury, exile and early death by Tsarist persecution.

Return to the lost city

During a press interview in Bombay about his latest book, the author-narrator of Friend of My Youth feels ‘a surge of bile’ against the novel. That imperialist bully of a genre has ‘squatted on the writer’s life’ and defines his ‘sense of worth or lack of it’. Our narrator, as it happens, is named ‘Amit Chaudhuri’. The circumstances of his return to the Indian city of his youth (but not his birth) match in many respects the author’s biographical data. He’s talking, for a start, about The Immortals, the Bombay-set novel about musicians that Chaudhuri published in 2009. For all his rancour about the prestige of fiction, though, he insists that this latest work counts as a novel, not a memoir: ‘the author and the narrator are not one.

Hot Spring

Imagine if Kathy Lette — or possibly Julie Burchill — had written a feminist, magic-realist saga that sent four women on a road-trip around the broiling hotspots of the Arab Spring. No, not easy to do — yet the intrepid Turkish journalist and writer Ece Temelkuran has, in this novel, come up with just that sort of pantomime chimera. Temelkuran, an outspoken truth-teller whose fearless reportage has jeopardised both her livelihood and security in Turkey, flings together a quartet of ill-assorted travellers — one of whom resembles the author. She whisks them around the crisis zones of the eastern Mediterranean just as revolutions flare and tyrants tumble. Our four heroines, ‘fated to take refuge in a story’, zigzag from Tunisia after its dictator’s fall to Libya during Gaddafi’s endgame, to Egypt as the Tahrir Square protests erupt, then across the sea to a showdown in Lebanon.

On the trail of a lost masterpiece

On 27 May 1939, the German liner St Louis docked in Havana with 937 passengers on board: all but a handful of them were Jews in flight from the Third Reich. After a dismal farrago of diplomatic obstruction, bare-faced corruption among local officials and the incitement by Nazi propaganda of anti-Semitic prejudice ‘even’ (as Leonardo Padura sorrowfully puts it) ‘among the open and happy Cubans’, only a score of refugees could disembark. The US refused entry to the rest. Their ship of despair sailed back to Europe. Around this shaming episode, the genial gadfly of Cuban literature has built a digressive, eccentric but deeply absorbing novel: part-detective story, part-historical enquiry, part-reflection on the ‘sacred’ qualities of great art and human freedom.

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