Book Reviews

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

Many and various are the things one finds in Kentish pubs (I’m told); but few could top the sepoy’s skull discovered at The Lord Clyde, Walmer, complete with brief biography: Skull of havildar ‘Alum Bheg’, 46th Regt. Bengal N. Infantry… blown away from a gun. From this grisly starting point, Kim Wagner, lecturer in British imperial history at Queen Mary University of London, narrates how, in the swelter of mid-1857, following outbreaks throughout British India, native Bengal Army units at Sialkot mutinied, killing officers and civilians and looting the cantonment, and then set out for Delhi to join Bahadur Shah, the briefly-minted ‘Emperor of India’. They didn’t make it. All

Like A Fiery Elephant, my biography of the experimental novelist B.S. Johnson, contains one particularly careless sentence: the one where I described Johnson as ‘Britain’s one-man literary avant-garde of the 1960s’. It was a silly thing to write, partly because it wasn’t true, but also because it was easily the most quotable line in the book and so every journalist and reviewer was bound to pick it up and repeat it. And so it proved. But Johnson was not Britain’s one-man literary avant-garde. The 1960s saw a significant flowering of what we might (for shorthand) call experimental writing in this country. They saw the emergence of writers such as Nicholas

The late Michael Foot used to say that the first thing he needed to know about a new acquaintance was, on which side he or she would like their forebears to have fought in the English Civil War. He himself, of course, was firmly for Parliament. But having read Leanda de Lisle’s book, it is hard to imagine how anyone could possibly want to have Roundhead ancestors. King Charles I is among the most baffling figures in English history, as the subtitle makes clear. Failing to avoid the the Civil War and letting Lord Strafford, his loyal chief minister, go to the block, are scarcely peccadilloes. ‘The man of blood,

‘It’s a grand thing to get leave to live’, perhaps the most famous line Nan Shepherd wrote, is carved in the slate paving of the Writers’ Museum’s Close in Edinburgh. But many who read it, either there or on the new Scottish £5 note, will be surprised to learn that it is not actually taken from The Living Mountain, the work that brought Shepherd posthumous fame beyond her native Scotland. Published in 1977, just four years before its author’s death, this book about the Cairngorms — part spiritual memoir, part nature writing — was written decades earlier, in the 1940s, but failed to find a publisher. Even then, however, it

While the short story is currently under-going one of its periods of robust, if not rude, health, its two dominant modes — the classical or Chekhovian, and the postmodern or experimental — have become harder to define, with authors happily borrowing tricks from both approaches. None of the collections here can definitively be confined to either camp, and this should be celebrated. William Boyd’s decision in The Dreams of Bethany Mellmoth (Viking, £14.99) to jettison conventional character names is gently experimental, if not always successful. From the start we encounter exotics such as Ludo Abernathy and Arkady Lemko. Later, there’s a Zack, a Moxy and a Sholto. Later still, a