Book Reviews

Our reviews of the latest in literature

Thursday

Frances Wilson

‘I don’t want to explain myself’

There is an African bird called the ox-pecker with which Germaine Greer, conversant as she is with the natural world, will doubtless be familiar. Oxpeckers ride on the backs of large mammals — giraffes, buffalo, wildebeest and the like — feeding off their lice. Once thought an example of mutualism, the relationship between diner and host is now understood to be more complex than this. On the one hand oxpeckers reduce the larvae, and on the other they jab their beaks into any open wounds on the hide in order to keep the blood fresh. Elizabeth Kleinhenz is Germaine Greer’s ox- (or rather Oz-) pecker. A few years younger than

Thursday

Stuart Jeffries

No shrinking violet

‘I have fallen in love many times in my consulting room,’ writes the psychotherapist Jane Haynes. ‘I do not mean that I want to have an explicit sexual relationship,’ she clarifies. That said, she describes herself as the Desdemona of the consulting room, falling in love as she listens to ‘someone share the pity of their history’. And like Othello’s stories that titillated Desdemona, Haynes’s narratives of her and her patients’ painful lives are compelling, if passing strange, particularly given that her profession is usually reticent about what goes on behind closed doors between shrink and shrunken. Haynes offers her insight into that secret world: ‘They present me with their

Kathryn Paige Harden

The fabric of human identity

The Romans invoked Fortuna, the goddess of luck, to explain the unexplainable; fortune-tellers study tea leaves to predict the unpredictable. In Blueprint: How DNA Makes Us Who We Are, Robert Plomin defies the ancients and the mystics, promising that your fortune can be predicted and explained by your genes. Plomin is a psychologist who built his scientific reputation on twin and adoption studies of intelligence, academic achievement and mental health problems. In a book that urges working ‘with the grain’ of your unique gifts, Plomin’s talents as a scientist are clearest in the first half of the book, where he narrates the major projects of his tentacular career — first

Max Décharné

The road not taken | 25 October 2018

In the 1970s, when Mark Kermode first picked up an instrument, the UK record business was a very different place. There were five weekly music papers — NME, Sounds, Melody Maker, Record Mirror and Disc. Around 15 million people tuned into Top of the Pops every Thursday; Radio 1 reached more than 20 million listeners a week, and chart 45s could sell 500,000 copies. Today, the idea of schoolchildren saving up their pocket money to buy the latest single feels as if it has long since gone the way of other formerly popular activities such as stamp collecting and origami. The times, as Dylan almost remarked, they’ve been a-changin’. ‘As

Tim Martin

Highway to hell

A lingeringly strange atmosphere hangs about Benjamin Wood’s third novel, in which the settings and paraphernalia of a new wave of British weird fiction — old children’s TV series, rustic bloodletting, the starkness of the northern landscape — encroach steadily on a retrospective story of childhood murder and deceit. The setting is northern England in the early 1990s, as the young Daniel Hardesty, a bookish 12-year-old, embarks on a road trip to Yorkshire with his estranged dad Francis, a jobbing stage carpenter, philanderer and liar. They’re on their way to the set of The Artifex, the sci-fi TV drama on which Francis works and with which his son is obsessed.

Philip Marsden

The king of trees

Over the past couple of years, I’ve been planting up much of the pasture on our small Cornish farm with native hardwood trees, mainly oak. I now know I needn’t have bothered. As soon as the grass stops being cut, little oaks spring up of their own accord. This last dry summer in particular has seen dozens appear, tiny three-leaved stalks that push through the sward with their multi-layered greens beautifully tinged with reddish anthocyanin. It gives the impression that if everywhere were simply left, and if there were no browsing beasts, it would be a matter of decades before all open country reverted to its post-glacial pre-neolithic state of

Jeff Noon

Family mysteries

Maggie is sitting alone in the park when she’s approached by Harvey, who introduces himself as a recruiter for MI5. This is the starting point of Mick Herron’s This is What Happened (John Murray, £16.99). The company Maggie works for is under investigation as a possible threat to national security. She takes on a task, to feed a virus into the company’s computer network, but during this operation she accidentally kills a security guard. Harvey places her in a safe house. No windows, a locked door, no television, no internet, no way of knowing what’s going on beyond her room. Years pass. Harvey visits now and then, telling her the

Kate Womersley

Outpourings of the heart

The numbers invite awe: three billion beats in a lifetime; 100,000 miles of vessels. But on the hospital floor, wonder is often in short supply. Doctors forget how intimate their examinations and investigations can be. Stethoscope to chest. Order a blood test. I remember on a morning ward round at medical school, our consultant wanted to check that the oximeter was working (a device which measures heart rate and blood oxygenation through the nail bed). He asked a harassed junior doctor to present her forefinger. The screen’s digits betrayed her stress levels. She was clinically tachycardic. Her pulse was so fast it would have been worrying had it been the

Andrew Motion

A remarkable show of devotion

On 13 September 1964, at the age of 42, Philip Larkin began writing to his mother Eva (his ‘very dear old creature’) by taking stock: Once again I am sitting in my bedroom in a patch of sunlight, embarking on my weekly task of ‘writing home’. I suppose I have been doing this now for 24 years! on and off, you know: well, I am happy to be able to do so, and I only hope my effusions are of some interest to you on all the different Monday mornings when they have arrived. A great deal of what is characteristic about Letters Home is evident here. The sense of

Thursday

Alastair Smart

Albers the austere

The German-born artist, Josef Albers, was a contrary so-and-so. Late in life, he was asked why — in the early 1960s — he had suddenly increased the size of works in his long-standing abstract series, ‘Homage to the Square’, from 16×16 inches to 48×48. Was it a response to the vastness of his adopted homeland, the United States? A reaction to the huge canvases used by the abstract expressionist painters in New York? ‘No, no,’ Albers replied. ‘It was just when we got a station wagon.’ In Charles Darwent’s new biography, Albers (1888–1976) comes across as a man as frill-free as the art for which he’s famous. Apparently, he held

George C. Herring

In cold blood | 18 October 2018

The 50th anniversary of the Vietnam war has produced an outpouring of books, along with Ken Burns and Lynn Novick’s 18-hour television spectacular, which sparked in the United States yet another round of heated debate on the war. The journalist and military historian Max Hastings’s fast-paced and often compelling narrative will surely rank as one of the best products of this half-century reappraisal. Vietnam: An Epic Tragedy is a monumental undertaking. Many books analyse major Vietnam war policy decisions. Others discuss military operations; still others recount personal experiences. Hastings does all three in a single volume, although he gives greatest attention to the on-the-ground activities of North and South Vietnamese,

Anne Margaret Daniel

Jay for Japan

Haruki Murakami’s Killing Commendatore was published in Japan in February last year. Early press releases for this English version hailed the book as ‘a tour de force of love and loneliness, war and art — as well as a loving homage to The Great Gatsby’. Anyone familiar with Murakami’s 17 preceding novels can vouch for love and loneliness as his great themes; and war, art and F. Scott Fitzgerald are not new to him, but in Commendatore all enrapture. The narrator, a man with no name struggling with his own art — and, concurrently and inseparably, the women he sleeps with — recalls Murakami’s earlier nameless narrators, all the way

Stuart Kelly

Relocate or emigrate

There is a degree of irony in the opening chapter of T.M. Devine’s history, lambasting popular previous depictions of the Clearances and citing ludicrous comparisons to Nazi genocide and the misty-eyed melancholy of John Prebble. Though it does not mention such iconography as Thomas Faed’s painting ‘Last of the Clans’, used for the paperback of Prebble’s book, or Erskine Nicol’s ‘An Ejected Family’ in all its schmaltzy Victorian glory, such depictions are clearly the target. Yet the book itself is called The Scottish Clearances: A History of the Dispossessed and not, which would actually be more accurate, ‘Patterns of Land Ownership, Agricultural Change as well as Internal and External Migrations

Andrew Taylor

Kidnapped by Kett

Tombland is not to be treated lightly. Its length hints at its ambitions. Here is a Tudor epic disguised as a historical crime novel. C.J. Sansom’s ‘Shardlake’ series, of which this is the seventh episode, deals with the activities of a hunchbacked lawyer in the 1530s and 1540s. The bloated old king is now dead, and his son, Edward VI, a minor, rules through the Lord Protector, his uncle Somerset. England is in a parlous state — verging on bankruptcy after a disastrous Scottish war, uneasy with the new regime’s ultra-Protestant policies and on the brink of civil unrest. Shardlake has somehow managed to cling to his integrity, despite having

Louis Amis

Manic creations

American mass-incarceration is the most overt object of the ‘protest’ of this novel’s subtitle. The author, Sergio De La Pava, works as a public defender in New York City, and calls on an intimate secondhand knowledge of the many different sorrows to be found in the ripples of a single criminal case. But Lost Empress is also about other kinds of losses and limitations to human freedom. One minor character, a Colombian immigrant striving on behalf of his children, endures labour that ‘felt like a prison sentence’ or an ‘abyss’, opened up by ‘the desaturation of meaning’. He is killed in an accident early on; for his son, the grief

Lucy Mangan

Little women, big issues

The great thing about Louisa May Alcott’s classic Little Women is that it has something for everyone: stay-at-home types have the oldest of the March sisters, Meg, who struggles to reconcile her love of ease with both her responsibilities and the family’s genteel poverty (and does at least manage to have one night of fun at the Moffatts’ party, sipping their champagne with one hand and sporting her single good glove on the other, before settling down with a nice husband and even better linen cupboard); cool-slash-mean girls have Amy, who wrestles with vanity — not hugely successfully IMHO (Amy would be a demon with textspeak and indeed probably the

Tim Stanley

Capitalism in America: A History

Donald J. Trump has sparked some soul- searching among US historians: has this happened before? Does it mean America has changed? Cue the self-laceration, cue the book deals. Two impressive volumes illustrate both agreement and disagreement, both concurring that America represents the search for something — but the jury’s out as to precisely what. Capitalism in America: A History is by an Economist writer (Adrian Wooldridge) and a former chair of the Federal Reserve (Alan Greenspan), so you can guess where they’re coming from. The book celebrates the American thirst for self-improvement and argues that the country has long benefited from a ‘creative destruction’ driven by the market and entrepreneurs.

Thursday

Andrew Roberts

Diary – 11 October 2018

I’m giving 93 speeches over the next four months to promote my new book, Churchill: Walking with Destiny, but I don’t actually like public speaking. I enjoy it once it’s over, but not while it’s happening. I envy those writers of the 1970s who just got on with writing the next book as soon as the last one was finished. Once, at the Royal Hospital in Chelsea, a lady started her question, ‘You seem to be very ignorant, Dr Roberts.’ The Pensioners naturally roared with laughter. She was referring to my failure to have read the latest issue of a psychology journal that explained Adolf Hitler’s career in terms of

James Barr

Tory table talk

I bet that you are at best dimly aware of the Progress Trust, and that is what the members of this now-defunct fixture would have wanted. It was a misleadingly named group of comfortably off, often landed backbench Tory MPs, and its weekly discussions very rarely leaked. An unnamed member once explained why. ‘We have no shits,’ he said. The Trust, which would number Alec Douglas-Home and David Cameron, briefly, among its members, was secretive from the outset. It was established in 1943 to resume a more partisan style of politics, at a time when both main parties were still in theory committed to a ceasefire that the Conservatives felt

Alex Preston

Pithy and profound

It’s not surprising, perhaps, that Emil Cioran isn’t much read in England. Born in Romania, but winning a scholarship to the University of Berlin in 1933, Cioran was an avid supporter of both the Nazis and the Romanian far right group, the Iron Guard. His writing is bleakly nihilistic, his titles a hint to what lies within: On the Summits of Despair, A Short History of Decay, The Trouble With Being Born. Cioran was perhaps the greatest 20th-century practitioner of the aphorism, that ancient, fusty, patrician form associated with Hippocrates, Erasmus, de la Rochefoucauld and Pascal. Viewed in a certain light, though, a kind of mordant humour begins to emerge