Wynn Wheldon | The Spectator columnists & writers

More stirring stories of little ships

‘I found this story by accident,’ begins Julia Jones’s Uncommon Courage, referring to documents belonging to her late father that she discovered in a far corner of her attic. True, but also false. This is not one story: it is a tsunami of stories. Sometimes it’s hard going, as you try to shelve the curiosity aroused by each tale. But the author writes with vim and vigour and with her own curiosity to the fore. It is all, appropriately, as far from dry as one could wish. The imagination finds it difficult to yoke yachting with war – the one solitary and pacific, the other dense with people and mayhem – but the initial supposition that we shall be subjected to booms and topsails and rigging is soon scuppered. There is only a single actual sailing story, placed somewhere off the Levant, where one of Jones’s heroes, Adrian Seligman, was pretending to be a Greek fisherman.

The Georgians feel closer to us now than the Victorians

‘The two most fascinating subjects in the universe are sex and the 18th century,’ declared the novelist Brigid Brophy when the ban on Fanny Hill was lifted in 1963. Penelope Corfield’s big, handsome, enjoyable book goes a good way to illustrating Brophy’s assertion. Part source book, part interpretive history of the long 18th century (1688-1837), it is also a guide and gazetteer to the continuing presence of Georgian England in our towns and minds. The world before 1688 is largely unfamiliar to us. The 18th century, however, with its lovable rogues, its introduction of constitutional monarchy, its rights of man and its sexual libertines, is akin to ours. Despite recent trends suggesting we may soon be dressing the piano legs again, we are closer to the Georgians than to the Victorians.

The Great War was enough to make grown men weep

Following the assassination of Archduke Franz Ferdinand in Sarajevo it took a mere six weeks for the diplomats of Europe’s Great Powers to plunge the continent into cataclysmic war. Austria-Hungary wanted Serbia, which was protected by Russia, which was in an entente cordiale with Great Britain and France. Germany was the ally of Austria-Hungary. For good measure, Turkey was the ally of Germany. Simon Heffer straightforwardly follows the messaging and the meeting that resulted in catastrophe. There are no forces or movements here, but rather individuals trying to serve their nations’ best interests, and with generally good intentions all round. The road to hell. Emphasis on the words and actions and characters of those directly involved, such as Edward Grey, the British foreign secretary, Prince Lichnowsky, the German ambassador to Britain, and Dayrell Crackanthorpe, the British minister in Belgrade, is carried on throughout the precise, occasionally sardonic Staring at God.

Shaggy dog stories

What is it that distinguishes humans from other animals? The default answer nowadays is tediously misanthropic, but a more interesting distinction is that humans keep pets. Why this should be is the subject of this book. Jacky Colliss Harvey investigates the men and women who have owned, doted on, and in some cases mistreated their pets, in literature, painting, the movies and history. This begins 26,000 years ago, when a boy and his dog went exploring in bear caves in the south of France. The evidence was discovered in petrified tracks at Chauvet in the Ardèche in 1994. Harvey has a scholar’s aspiration and she is tremendously erudite, ranging far and wide, from Jacques Derrida (‘The animal looks at us and we are naked before it’) to John Wick (an action movie starring Keanu Reeves, who visits terrible vengeance on the villains who have killed his dog), half-answering questions about why exactly we have pets.

Curiosity – and cats

To Jan Morris, I am anathema. That goes, too, for David Attenborough. It is a word that this unarguably great writer likes: ‘It rolls well off the tongue.’ Why are your reviewer and the great broadcaster anathema, you ask. Well, we have been to the zoo. In this almost entirely enjoyable book no-one comes in for quite so much disapproval as those of us who have been to the zoo.I mention David because, when I was young, he took me to the zoo. However, despite this sinfulness, I would be surprised if Morris, who is a year older than Attenborough, does not recognise in David a confrère in the war for niceness against nastiness, kindness against cruelty. This book, apparently written because Morris has ‘nothing much else to write’, is more weighty than it seems.

High stakes and chips

According to the subtitle, this is a collection of ‘short stories of long nights at the poker table’. Were that the case, this would be a more enjoyable book, but there are too many stories here that stray from the baize. As a game, poker is relatively simple. The deal gives you your ‘hole’ cards, the ones you and no one else can see. They determine whether you play the hand or not. The betting follows as cards are further distributed. One by one players drop out, hopes dashed. Finally someone wins, not necessarily with the best hand. Beginning, middle, end. Poker has a richer literature than any other card game. Its attraction to writers is in its inherent suspense and the tension that creates. An old poker saw maintains that you play the players, not the cards.

Pets in the Blitz

War Horse, by way of book and play and film, has brought the role of horses in war into the public consciousness. Even before it, there was the erection of an Animals in War Memorial on Park Lane, paid for by an impressive list of aristocrats under the leadership of commoner Jilly Cooper. But what of pets, or what Professor Hilda Kean prefers to call ‘companion animals’? Not long ago, in Paddington, I was walking my own dog when accosted by an incredibly old man who said that he had lost his dog during the war. ‘Oh,’ said I, with my eyebrows raised. ‘Yes, we lived on the Wirral peninsula, and since we were close to Ireland, which was neutral, there was a fear that the Nazis would invade from there, so the beaches were mined.

An apologia for adultery

What to make of this unexpectedly startling novel? Though you may be lured into a false sense of familiarity by mentions in the blurb of Trollopes J and A, and the comfortable middle-class settings (Sussex, Notting Hill), it turns out to be a diatribe against male selfishness, a meditation on approaching death, and an apologia for adultery. And that’s among other things. Set in the week beginning 6 May 2015 — the day before David Cameron’s unexpected general election triumph — it concerns three marriages well into maturity, each requiring a reappraisal of its sexual politics. Some of this, reading as a middle-aged male nearing 60, as is one of the characters, is close to the bone, if I may so put it. The defeat of Clegg and Miliband is used to demonstrate one of the characters’ theories that men die twice, first at the end of ascending careers.

My mother, my self

To tell this story of his search for a mother lost to mystery in early infancy, its author uses the techniques of documentary drama. He describes past scenes and conversations in extreme, atmospheric detail: a particular dream on a particular night in the 1940s, a conversation in the 1950s. Perhaps his work as a screenwriter has helped in this, but it is the clarity of his prose and the emotional significance of his search that ensure an entirely plausible imaginative reconstruction. As one would in reviewing a novel, the characters may be described in the present tense. So George, the author’s father, Anglo-French, hailing from the Seychelles, Catholic, a keen gardener (he grows his own pipe tobacco), is a kindly, concerned parent who has slipped in the social hierarchy but is doing his best for his children.

Scarred by the past

In Indonesia in 1965–6 half a million communists and supposed communist sympathisers were murdered by a range of civilian and paramilitary organisations under the direction of the army. This is the setting for Louise Doughty’s grim, ambitious novel. John Harper is a young operative in Jakarta, working for a Dutch private intelligence operation, providing information for corporations and doing covert work for various governments, chiefly the American. The title refers to the polluted water of Jakarta’s canals, but also to the water of the country’s paddy fields. To the news-attentive reader there is also the echo of the Blackwater private security operation that got into trouble in Iraq. Most of all, perhaps, it refers to the rain that disguises the approach of death, blocking out sound and traces of movement.

A disarming heroine

The name Freya is derived from the old Norse word for ‘spouse’, perhaps Odin’s. As a goddess she is variously responsible for birth, death, war and beauty, which seems to cover a fairly wide range of human endeavour. It is a name befitting the ardent heroine of this old-fashioned novel with a distinctly contemporary bearing. An initial irritation at the use of a literary pun (the first of the three parts of the book is called ‘At Swim, Two Birds’ for no very obvious reason) and a sprinkling of period props (powdered eggs always pop up in the late 1940s) soon gives way to the pleasurable anticipation of a long tale well told. Anthony Quinn’s previous novel, Curtain Call, was set in 1936, and one of its principal characters, Stephen Wyley, is the father of the eponymous heroine of this one.

Spectator books of the year: Wynn Wheldon enjoys a new history of the BBC

A long time ago the novelist Marghanita Laski opined that the BBC had been the greatest single influence for good upon the life of the nation since the decline of the churches. A little later my father, Huw Wheldon, called it ‘one of the great institutions of the western world’. Charlotte Higgins regards the corporation as ‘the most powerful British institution of them all’. Her history of the BBC, This New Noise (Guardian/Faber, £12.99) is intellectually coherent and a pleasure to read. It gives proper credit to the ‘pioneer of TV current affairs’, Grace Wyndham Goldie. Bernard Cornwell’s Waterloo (Collins, £8.99) is excellent, chiefly in its willingness to tell the story from the point of view of the battle’s combatants, while never allowing the narrative — and what a story it is — to flag.

To the ends of the earth

What’s in a name? The identity of the author offers a clue to one of the themes of this intriguing novel: Naomi, a good Hebrew name; Williams, a stout Welsh name; born in Japan; lives in California. The earth is spanned. Landfalls charts the voyage of two French frigates exploring the world at the end of the 18th century, after Cook but before the Revolution. Based on true events, the story unfolds in discrete episodes, short stories indeed, told from a variety of points of view, in changing cases and in differing person. The dramatis personae remain more or less constant; they cross-inform each others’ stories. In its work as historical fiction, Williams subtly outlines the cusp between ancien regime and republic.

‘It’s always wrong to starve’

‘My mother and father named me Aron, but my father said they should have named me What Have You Done, and my uncle told everyone they should have called me What Were You Thinking.’ So begins, with bitter Jewish humour, this involving book set largely in the Warsaw ghetto. There is a hint of unnerving pastiche in this, but it is a sentence that finds an echo in the compassionate words of Jim Shepard’s hero, Janusz Korczak, in the final sentence of the book. Korczak was a real figure, a paediatrician who ran an orphanage in Warsaw, moved with it into the ghetto and, despite being offered several chances of escape, stayed with his charges when transported to the extermination camp at Treblinka. Aron, the young first-person narrator, is the third son of poor Jews in a Polish village near the Lithuanian border.

All change: everything metamorphoses in Aquarium, including its author, who takes on the persona of a 12-year-old girl

Books ought to be able to stand on their own, but perhaps it is important to know this about David Vann: a year after his stepmother’s mother had shot her husband and herself, his father also shot himself. Vann was 13 years old. The reason it’s important to know this is that what might seem implausible in the author’s new novel, Aquarium, probably does not at all seem like that to him. Vann has mined these events for his writing. The second tragedy he treated in his first, much acclaimed, book, Legend of a Suicide (2008), a hybrid work containing bits of all sorts of genre, but concerned chiefly with a son’s relationship with his father. Subsequent novels, and Aquarium too, deal with the same subject, variations on a theme: the relationship between parent and child.

A ghost story without the scary bits

Two men walk into an ice cream parlour in Austin, Texas, order the three teenage girls working there to undress, then tie them up and gag them with their own underwear, and set fire to the place. However, See How Small is not interested in the why or the who, but rather in the lives of a group of characters affected by the incident. We learn about these lives both before and after the murders, mostly after. This book is a kind of modern ghost story, without the frightening bits. Kate Ulrich is the mother of two of the girls. She is haunted by them. Jack Dewey is the firefighter who discovers their bodies. He too is haunted by them. Hollis Finger is the mentally traumatised ex-soldier who lives in a car outside the parlour, which is decorated with ‘seashells, buttons, beads, metal army men and hairless dolls’.

A big literary beast’s descent into incoherence

Something odd happened between the advance publicity for this book and its printed appearance. Trailed as addressing the troubled history of Australia’s relationship with the USA, it is actually about the troubled relationships between a cat’s cradle of everyday radical folk and set almost entirely in the suburbs of Melbourne. A washed-up old left-wing journalist, Felix Moore (keep an eye on the names), is employed to write an account of how and why Gabrielle Baillieux, a rebellious young computer hacker-cum-ecowarrior, devised and hatched a virus — or ‘worm’ — to open all the prison cells in the United States and Australia. She has been arrested and bailed and gone on the run. Gaby is supposed to help Felix by making herself available.

Things to do: read this book

It would be perverse not to succumb to the temptation to write this review as a list. So, the first item is how very handsome an object this book is: sturdy and smooth and substantial and full of white space and full-page illustrations (my favourite is Nick Cave’s homemade dictionary, which has two full pages). How much less satisfactory it will be in its e-form. This is somewhat ironic, as it had its genesis as a website, being a companion to the equally splendidly produced Letters of Note, such a hit last Christmas. Item two is that it is just as engrossing as that former volume. Indeed, judging from the number of shared contributors — F. Scott Fitzgerald, Leonardo da Vinci, Einstein, Vonnegut — it is less a companion, more an offspring of the first.

Kafka goes to Dubai

‘X’ is in ‘the Situation’: Joseph O’Neill, author of the clever and superb Netherland, hereby lets us know that his new novel is a riff on Kafka’s The Castle. Kafka’s ‘K’ has become X, struggling for recognition by his lover, by his employer, by the world. The Situation is a residential block in Dubai (desert sand for Kafka’s snow). X is a corporate lawyer who has been invited there by an old college friend, a dodgy Lebanese billionaire, to handle the family’s personal financial affairs. The burdens of this job constitute the first of the three threads that bind the novel together. The second is the story of X’s relationship and break up with his high-powered girlfriend, Jenn, of whom he is terrified. She is one of the reasons he has fled New York.

Sorbet with Rimbaud

The Bloomsbury of the title refers to the place, not the group. The group didn’t have a poet. ‘I would rather be a child and walk in a crocodile down a suburban path than write poetry, I have heard prose writers say,’ wrote Virginia Woolf, albeit tongue-in-cheek (maybe). Nonetheless, unsurprisingly, these non-poets steal the first chapter of this amuse-bouche of a publication. They are allowed to so that the author, or rather his sources, may describe the rather dull area of London that abuts the eastern end of the Euston Road to the north, and to the south High Holborn. ‘A cold grim house in a cold, grim district,’ wrote Harold Nicolson of Virginia and Vanessa Stephens’s house in Gordon Square. The author’s presence is felt, lightly, throughout, combining faultlessly the scholarly and the anecdotal.

The Zone of Interest is grubby, creepy – and Martin Amis’s best for 25 years

‘Everybody could see that this man was not a “monster”, but it was difficult indeed not to suspect that he was a clown,’ wrote Hannah Arendt of Adolf Eichmann, in Eichmann in Jerusalem. Indeed, Eichmann was certified as ‘normal’ by half a dozen psychiatrists. On more than one occasion in Martin Amis’s troubling new novel one of its main characters, the fictionalised commandant of a thinly disguised Auschwitz, declares himself ‘completely normal’. He also happens to be an oaf, a clown. We are dealing, then, with the banality of evil. Set in the months from August 1942 to April 1943, when it became clear that the Germans were going to lose the war and that the Final Solution had better be hurried up, the story is told in three voices.

Nature inspired P.J. Kavanagh – but so did ghosts, dreams, grief and God

P.J. Kavanagh, if not dismissed or relegated, is often shall we say bracketed, as a ‘nature poet’. The truth is, he’s as much of a nature poet as William Cowper was: in other words a good deal more than ‘a man who woos a rural muse’. While Kavanagh is also mentioned as a successor to Louis MacNeice and Edward Thomas, and is known for his portraits and tips of the hat to many other poets, such as Robert Lowell, Ivor Gurney and Yeats, it is, in fact, Cowper whose echo I myself hear most clearly. Cowper’s now idiomatic phrases — ‘God moves in a mysterious way’, ‘Variety’s the spice of life’, ‘God made the country and man made the town’, and so on — are not far removed from what an 18th-century Kavanagh might have written: ‘Dread is easier to feel than God / Some days’, ‘Good God, what could have been bald is various’, ‘The brief illusion /of a life more “real” in London than in Kent.

Half-poetry, half-prose, half-Belgian – and not half bad

Patrick McGuinness’s prose trembles on the edge of poetry, occasionally indeed tipping gently over into it. This is thoroughly characteristic of a book that does sometimes feel as though it might be an abandoned sequence of poems, reconfigured in often spell-binding prose. The title itself is poetic: who the ‘other people’ are and which ‘countries’ they come from is never wholly clear. However, perhaps this cavil is unjustified. Poetry, after all, inhabits a literary space in which fact and fiction merge or dissolve into one another, as they do in (or are made to by) memory, so the subtitle hints at what is to follow, which is an attempt to describe the act of remembering. The object of the book is to be found in the dedication, which is to McGuinness’s children, ‘so that they know where they come from’.

A master craftsman of the anecdote

One of the many charms of this book is its sheer unexpectedness, which makes it hard to review, for to reveal the brilliancies too fully would spoil their effect. My copy is splattered with exclamation marks. For example, on page 65 the author is working on a piece of delicate silver jewellery that will become the ‘Two Turtle Doves’ of the title while singing along to ‘Hersham Boys’ by Sham 69, a punk band of the 1970s associated with skinhead violence. Exclamation mark. Two pages later, and years earlier, he is playing ping pong with Benjamin Britten. Two exclamation marks. As intricately patterned as filigreed silver butterfly wings, the narrative weaves between memories of childhood (past tense) and the making of jewellery (present tense), interspersed again with tales and reflections of the near present (a bit of both).

Deserter, wifebeater, great poet: the shame and glory of Vernon Scannell

Vernon Scannell was a thief, a liar, a deserter, a bigamist, a fraud, an alcoholic, a woman-beater and a coward. Plenty of material for a biography, then, especially given that he was also a novelist, a critic, a memoirist, a boxer, a teacher, a broadcaster, a loyal friend, a passionate lover and ‘a fun grandfather’. Most of all, he was a poet. Walking Wounded was the title of a Scannell poem and collection published in 1965, and James Andrew Taylor is right to use it as the title for this biography. Beaten viciously by a thug of a father, uncomforted by an unloving mother, by the time he was 19 he was himself a father (of a son he never met) and a soldier, and soon to be a deserter, wounded chronically in mind if not in body.

A Strong Song Tows Us, by Richard Burton - review

How minor is minor? ‘Rings a bell’ was more or less the response of two English literature graduates, now successful fifty-somethings, when asked what the name Basil Bunting meant to them. It is, after all, a good name, a memorable name. I asked a younger friend, about to start his Eng. Lit. degree at Keble: ‘Nothing.’ I asked a former literary publicist: ‘No, nothing.’ I quizzed a chap from the FCO: ‘Nothing, I’m afraid. Sorry.’ Perhaps not deep research, but I’d be surprised if Basil Bunting’s work was familiar to anyone not a poet or scholar of English modernism. Is this as it should be? Does he deserve a 600-page biography (any more than any other minor poet)? As a matter of fact he does. Tehran, 1951, the Ritz.

Six Bad Poets, by Christopher Reid - review

Is poetry in good enough health to be made fun of in this way? The irony is that this long, funny poem describing the incestuous peccadilloes of contemporary poetry’s social purlieus deserves to be read, and almost certainly will be read — and purchased — by far more readers than all but a few collections of poetry, even those by rather good poets. Christopher Reid was known originally as a poet of the ‘Martian’ school, which sought to find new ways of looking at the familiar: ‘Splitting an apple, / I find a cache of commas.’ More recently he gained wider attention as the author of the award-winning A Scattering, a moving collection of poems about his wife in her last illness and his own life as an ‘inhabitant/ of an empty house’.

There and Then: Personal Terms 6, by Frederic Raphael - review

Frederic Raphael is forensic in his description of the failures of successful people. He is enviously superior and he is partial to the clever oxymoron: ‘predatory caution’, ‘reticent curiosity’, ‘intimidating reassurance’. It is as though he cannot see an abstract noun without qualifying it with a contradictory adjective. It is a kind of shorthand cleverness, but a cleverness nonetheless. For Raphael is undoubtedly clever, and intelligent, and knowledgeable and smart (and, we learn, good at football, tennis and bridge). It is hard not to envy his certainties. This is a thoroughly enjoyable read. Diaries promise indiscretions, and the joy of gossip. I imagine Raphael’s peers will revel in his malicious pen portraits and suggestions of misbehaviour.

Country Boy, by Richard Hillyer - review

Under his real name, Charles James Stranks, the author of this little masterpiece wrote on a number of ecclesiastical subjects: the Venerable Bede, Jeremy Taylor, Durham cathedral, where he was a canon. He died in 1980. Country Boy was originally published in 1966. It is a memoir of the author’s childhood, and there is no reason to doubt the truth of its salient events. However, using a pseudonym, and changing the name of the Buckinghamshire village in which he grew up from Hardwick to Byfield (even giving us the proper pronunciation — ‘Biffield’) and presumably the names of the people characterised so brilliantly, perhaps accounts for the book’s coherence and heft. It reads like a novel. There are moments of Proust-like detailed description of walks, of Tolstoyan evocation of farm labour, and his mother (charitably pitied by the loving son) is an almost Lawrentian figure, intelligent, no longer aspiring, trapped by class and poverty, ‘always sharp when doing someone a kindness’.

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