Book Reviews

Our reviews of the latest in literature

100 years on, the un-dead are in better shape than ever

It is, of course, entirely appropriate that the estate of Bram Stoker should choose to mark the 100th anniversary of the author’s death this year with a series of events, such as the publication of Bram Stoker’s Lost Journal, and a special edition of Dracula.    With other writers you might decide to commemorate their birth, or the date of their greatest work. But death — and in particular the way it needn’t stand in the way of a man’s career — was the underpinning theme of Bram Stoker’s most famous novel. And with the popularity of vampires at an all time high in the early years of 21st century,

Shelf Life: Sue Townsend

A last minute cancellation by Adrian Mole meant that Sue Townsend had to step in to answer this week’s Shelf Life questions. She tells us which books she read as a child and what she would title her own memoirs. Her latest book, The Woman who Went to Bed for a Year, is out now. 1) What are you reading at the moment? Nothing I am registered blind, I listen to plays and readings 2) As a child, what did you read under the covers? Comics, Mad Magazine, P.G. Wodehouse, The William books, Jane Eyre, Little Women… 3) Has a book ever made you cry, and if so which one?

Libraries get political

The political battle over library closures has intensified. Earlier this morning, shadow culture secretary Dan Jarvis chastised libraries minister Ed Vaizey for being the ‘Dr Beeching of libraries’. Jarvis said that Vaizey should not be so ‘short-sighted’ as to permit 600 libraries to shut in England. He urged the government to intervene to save these ‘vital assets’, adding that not to do so would make a ‘mockery of the 1964 Public Libraries and Museums Act’. The Act allows the secretary of state to intervene if local authorities are in breach of their statutory requirement to provide a ‘comprehensive and efficient’ library service in local communities. Library campaigners have already demanded that Jeremy

Childish things

As the publishing industry comes to terms with the latest reports that the book is dead — this time at the hands of a digital revolution — we can count Penguin’s illustrated edition of Alice’s Adventures in Wonderland among the reasons to be optimistic for its future. This latest version of Lewis Carroll’s masterpiece, for which Japanese artist Yayoi Kusama has supplied the artwork, makes full use of every advantage the printed book enjoys over its electronic counterpart and, as such, points the way for publishers fearful of the digital age.   The characters and meandering plot of Alice’s Adventures in Wonderland will need little introduction to readers of this

Discovering poetry: Edmund Spenser’s ideal marriage

From ‘Prothalamion’ There in a meadow by the river’s side A flock of nymphs I chancéd to espy, All lovely daughters of the flood thereby, With goodly greenish locks all loose untied As each had been a bride; And each one had a little wicker basket Made of fine twigs, entrailéd curiously. In which they gather’d flowers to fill their flasket, And with fine fingers cropt full feateously The tender stalks on high. Of every sort which in that meadow grew They gather’d some; the violet, pallid blue, The little daisy that at evening closes, The virgin lily and the primrose true, With store of vermeil roses, To deck their

Across the literary pages | 12 March 2012

It is literary festival season, and there seem to be more than ever. In the next three months, there will be gatherings at Stratford-upon-Avon, Warwick, Swindon, Oxford, Cambridge, Hay, Glasgow — I could go on and on and on. The second wave of festivals comes in the high summer, before the final and long hurrah in the autumn. The proliferation is perplexing. These are hardly the best of times for the consumer; you would expect demand to be relatively low, especially as these events are populated by the same authors saying the same things about the same books. Was Martin Bell, for instance, more or less interesting at Guildford than he

Why Jeffrey Archer’s books should be banned

Jeffrey Archer is a menace. His books should be pulped and an Act of Parliament passed to ban their sale. They are the Maltesers of publishing. Once you’ve started one you can’t finish until you’ve scoffed the whole lot. And that can be very troubling. I missed stations, was late for meetings and kept the wife awake reading his last book, Only Time will Tell. The new sequel, The Sins of the Father, is no exception. It will keep your blood pressure high and you’ll risk back injury just from being kept on the edge of your seat. You may recall that, when I reviewed Only Time Will Tell, I

‘Viva la muerte!’

The Spanish Holocaust is a book that will give readers nightmares: it gave me two in a single night. Even people who think they have read enough about the Spanish Civil War to feel inured to its horrors will still be appalled by the intensity of the cruelty and repression here revealed. ‘Of the folly and wickedness of the military rising’, wrote Gerald Brenan in The Spanish Labyrinth, ‘there can today be no two opinions.’ Nor today, more than 60 years after he wrote those words, can there be two opinions about the sadistic and merciless repression planned and perpetrated by General Franco and his conspirators.  Reading Paul Preston’s narrative

Thirty years on

One of the pleasures of Alan Judd’s books is their sheer variety. His work includes biographies of Ford Madox Ford and Sir Mansfield Cummings, the first head of what became MI6, as well as nine novels, many of which have little in common with each other apart from unflashy but elegant prose. The Devil’s Own Work, for example, is a brilliant novella, almost a fable, that explores the fatal temptation of a novelist and the relationship between art and success. Another, The Kaiser’s Last Kiss, shows us both the Third Reich and the elderly Kaiser Wilhelm in a wholly unexpected light. Three of Judd’s novels, however, have both a protagonist

Patriot or traitor?

The mighty convulsion that was the French Revolution has stirred the blood of historians from Thomas Carlyle to Simon Schama and consideration of it still inflames opinions. At its centre stood Maximilien Robespierre — 5’ 3”, stern, unaffacted in manner or dress, Spartan in his domestic habits — deified by his followers as the ‘Incorruptible’ and vilified by his opponents as a traitor to the ideals of 1789, bent on dictatorship. Peter McPhee spares us speculation (Robespierre left no memoirs or diaries) on his subject’s ‘inner life’. Relying chiefly on Robespierre’s voluminous speeches and articles for the press, he calmly follows his progress, from crisis to crisis, in an austere

The triumph of failure

In l958, my hero in life, the person I most wanted to be, was Keith Dewhurst. I had arrived on the Manchester Evening Chronicle straight from Durham as a graduate trainee reporter, which was a laugh, as they did no training. Keith was the paper’s Manchester United reporter, knew all the players, went to all the games, and he wore a white raincoat with the collar turned up. Rapture. I don’t think I exchanged more than a few words with him, just ogled his raincoat from afar. Have never met him since. If I were to, I am sure he would deny he ever wore a white raincoat. It was

A matter of life and death

Hmm. Of the 30-plus characters in this novel, not one is both black and British. Odd, since it’s set in 2007-8, in south London. An early passage shows us a Polish builder listening to a ‘crowd of black kids’ on the Northern Line: ‘You never—’ ‘He never—’ ‘Batty man—’ And that’s it: six words in 650 pages. Capital, a metropolitan panorama that takes in the dawn of what we call ‘the current climate’, is wonderful — warm, funny, smart — but you do feel John Lanchester might be afraid to fall flat on his face with a fuddy-duddy faux pas. So no black Britons or (equally weirdly) teenagers of any

Apocalypse now

The blurb on the front of Grace McCleen’s debut novel (from Room author Emma Donoghue) proclaims it to be ‘extraordinary’, and goes on to praise it as ‘brutally real’, commending its mixture of ‘social observation and crazy mysticism, held together by a tale of parent-child love’. Unusually for a blurb, this is all accurate. McCleen’s novel may not be perfect, but it has a compelling and, at times hideously tense narrative that makes it an arresting read. It is deservedly named as one of Waterstones’ most promising debut novels of 2012. Owing something to both Jeanette Winterson’s Oranges Are Not the Only Fruit and Stephen King’s Carrie, the story concerns

The end of the affair?

Of those caught up in the 1963 Profumo affair, the only winner seems to have been that blithe spirit Mandy Rice-Davies. Everyone else lost. Profumo’s family bore the brunt, of course, especially his son David, archetype of the boy sent crying home from school, who wrote a brilliant book about it, Bringing the House Down (2006). Harold Macmillan and the Conservative party were driven from office. Yevgeny Ivanov was recalled to Russia. Stephen Ward was hounded to death. And poor Christine Keeler… In that mesmerising scene in the film Scandal (1989), where Mandy (played by Bridget Fonda) and Christine (Joanne Whalley-Kilmer, as she then was) are getting dressed, to the

Charming, cold-eyed cosmopolitan

At last a diary as penetrating on Berlin as the Goncourt brothers’ on Paris has been translated into English. The author, Count Harry Kessler, resembled a character from Sybille Bedford’s masterpiece, A Legacy. Born in Paris in 1868, he was educated in England, France and Germany. His father was a Hamburg banker; his mother was an Irish-Scottish beauty called Alice Blosse Lynch, admired by the Emperor Wilhelm I. At once German and European, Kessler rotated, as freely as some do today, between London, Paris and Berlin. After a year in the army, and a voyage round the world, Kessler devoted himself to the arts. Exhibitions and parties, and  long descriptions

Bookends: Down on the farm

Can we please have an inquiry into why already talented people are allowed to go off and be brilliant at something else too? As a quarter of Blur, Alex James (above), spent a decade creating critically acclaimed yet commercially successful pop anthems, thereby earning himself access to more drink, drugs and Doris than you could shake a Fender Precision bass at. Fair enough, say the rest of us (through gritted teeth). What isn’t on is the fact that it now seems James, having retired to a farm in the Cotswolds, can also write like a god. This won’t come as a total surprise to readers of The Spectator, where the

Interview: Elliot Perlman’s sweeping history lesson

Elliot Perlman’s The Street Sweeper is an extraordinary book. It is not perfect — it is repetitive, opinionated and long — but it is extraordinary nonetheless. Perlman unites the Holocaust and the civil rights movement as themes in a narrative that runs from rural Lithuania in the early ‘30s to modern day New York. Calls are made at Auschwitz, Little Rock and downtown Chicago along the way, as chance meetings connect a barely literate black street sweeper in Manhattan with the last of Sonderkommando (the handful Jews who were coerced into assisting the Nazis deliver the Final Solution, and clean up afterwards). They are both victims, Perlman says in the

Judging a book by its cover

Much ado this morning about Joanna Trollope, the chief judge at this year’s Orange Prize, who admitted that she was ‘influenced’ by a book’s cover. The Bookseller’s Philip Stone told the Times that ‘he was surprised that Joanna Trollope said that covers are significant. In a literary prize a book should be judged by the prose’. The prize will be judged on prose, but Trollope’s comments about covers are hardly novel, even in the context of serious literary prizes. Julian Barnes won the Booker prize and proceeded to thank his cover designer, saying: ‘Those of you who have seen my book, whatever you think of its contents, will probably agree

The art of writing: Adrian Mole

Just his luck. Adrian Mole is 30 years old — or 43 and ¾s to be precise. The appreciation of Sue Townsend’s most famous creation has grown into uncritical hagiography. The Mole series is not effortlessly and consistently brilliant as the Blandings or Jeeves and Wooster novels, or Tom Sharpe’s Wilt farces. The later Mole books are too soft and too ‘correct’ for my taste. The Cappuccino Years, for instance, was addled with the complacency that reigned supreme before the recent financial disasters and sovereign debt crises. It was smug rather than funny, building the status quo rather than testing it. However, the earliest Mole diaries are up there with