Fascism

This hefty volume is misleadingly titled. It is not an escapist sort of travel book, ushering the visitor around the homelands and houses of the Italian literati. It is a selection of the author’s previous literary articles, mostly book reviews for the New York Review of Books and the London Review of Books, and believe me it is hardly a sunshine ramble or a splash in the pool. On the contrary, it is an immensely learned, elegantly written rehearsal of the significance of 23 Italian writers, from Dante in the 13th century to Antonio Tabucchi in our own, and as such it amounts I think to an assessment of the

‘There are the Alps. What is there to say about them?/ They don’t make sense. Fatal glaciers, crags cranks climb, /Jumbled boulder and weed’, was Basil Bunting’s 1949 opinion of Pound’s Cantos; but as the sometime friend of Pound continued: ‘There they are, you will have to go a long way round / If you want to avoid them.’ This judgment has proved wise. Here we are in 2014, not avoiding one of the most contentious figures in 20th-century literature: poet, midwife of Eliot’s The Waste Land, economist, translator, committed Fascist, anti-Semite, avid supporter of James Joyce and Mussolini, later alleged traitor to the United States of America and —

When this extraordinary book was about to come out in French four years ago its author was told by his editor that it was likely to fail miserably. As Mariusz Szczgieł explains, the doubts were reasonable. No one was sure if anybody in the west would be interested in what a Pole had to say about the Czechs: ‘A representative of one marginal nation writing about another marginal nation is unlikely to be a success.’ But in 2009 Gottland won the European Book Prize (a serious award; the late Tony Judt’s Postwar won it the previous year) and it has been well received throughout the continent. There must have been

This is the most sensible and systematic interpretation of George Orwell’s books that I have ever read. It generously acknowledges the true stature of the great works — most notably, Animal Farm, Down and Out in Paris and London and The Road to Wigan Pier. It rightly sees the second world war as having brought forth some of Orwell’s finest writing. Yet it does not deify him, and it acknowledges that this strange, drawling, gawky Etonian, who wore common sense like a carapace, was occasionally as capable as the next journalist of writing undiluted tosh. Witness his claim in an article of 1940 that if he thought a victory in

In Times of Fading Light’s seven narrators exist in an almost permanent state of bewildered disappointment. Given that the narrators are various generations of the same family, what we’re shown is youthful hope turning recurrently to despair. The story begins in Berlin with Alexander, who is dying, visiting his now demented father, Kurt. This is 2001 and Kurt is at the end of his life, speechless and largely uncomprehending. Alexander, meanwhile, plans to elope to Mexico where his grandparents lived in exile almost 50 years previously. Walking his father through the streets of Berlin, he measures everything against the world he’d known before the fall of the Wall: ‘That was

David Lomon was one of the lucky ones. While fighting in Aragon in south-west Spain in the spring of 1938, the former salesman from Hackney was captured by one of the 100,000 Italian soldiers sent by Mussolini to fight for General Franco’s forces. Incarcerated in a Francoist concentration camp, his experiences were horrifying — brutal guards, starvation rations, insanitary and verminous conditions and a decidedly uncertain future — but he did at least survive. Many of his compatriots did not. Almost one in five were killed and most were wounded at least once in their fight to defend the Spanish Republic in the civil war of 1936-1939, in what some