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K. Nichols, Washington, USA

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A Dizzy Romance

Endymion tells the story of Endymion and Myra Ferrars, a pair of improbably beautiful and good-natured twins, who are forced to make their own way in the world when their father loses his power and income in the aftermath of the 1832 Reform Act, which saw Tory MPs ejected from constituencies up and down the country in the first post-Reform general election. Throughout, Endymion’s story allows Disraeli to make fiction from the materials of his own political coming-of-age. The result is a novel which translates the great dramas of the nineteenth century to a human scale.
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Prince Not-So-Charming

Because I write about monarchs, people have sometimes asked me whether I’ve read Frances Donaldson’s Edward VIII. ‘Not my period,’ I would stupidly reply, but the historian’s get-out-of-jail card was a ruse: the fact was I doubted whether a book on the Abdication written back in the 1970s could still be of interest. I couldn’t have been more wrong. Elizabeth Longford once observed that Frances Donaldson’s biography of Edward VIII had more effect than any other book on the future of the monarchy. Edward VIII was explosive: it shattered the romantic myth of the golden prince who abdicated because he was unable to rule without the ‘help and support of the woman I love’. By revealing the real man as shallow and fickle, it demonstrated the worth of sterling work and devotion to duty. The book is also a tract for our times today. Watching the play Charles III – which hinges on the scenario of the abdication of a future King Charles – I was struck by the relevance of Frances Donaldson’s story. The king comes to the throne, stubbornly resolved on a fatal course of action, is betrayed (as he sees it) by his family, and his support melts away: it’s all here in Edward VIII, which should be required reading for anyone interested in the monarchy’s future.
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The Black Mask

The Black Mask

The Thin Man was Hammett’s last book, and rather different from his others – it’s both thriller and sly sexual farce, the dialogue full of the slick one-liners which instantly became the markers for smart Hollywood dialogue right up to and including All about Eve. It’s a fine book – but it doesn’t compare with The Maltese Falcon. This is a detective story, but not about a particular murder – though it starts with one, the result of a treasure hunt. The eponymous falcon is an immeasurably precious relic originally given by the Knights of Malta to the King of Spain. Covered in black paint, it has knocked about for a century and more, unrecognized for what it is. But now Casper Gutman, the ‘fat man’, is on its trail, and Hammett’s detective, Sam Spade, is drawn into a violent tussle between thieves determined to get their hands on it.
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Falling in Love Again . . .

Joan Wyndham was not about to let such a disagreeable thing as a world war get in the way of having a jolly time. It is not that she didn’t take the war seriously – after art school she volunteered as an auxiliary nurse and then served as a WAAF officer – just that she was determined to get on with the things she enjoyed: shopping, dancing, learning to sculpt, curling her hair in pipe cleaners, swimming in the Serpentine and lying in bed all morning in a silk kimono with her feet on a hot-water bottle. She was certainly not going to let anything interfere with the important business of falling in love. Over the course of the war, recorded in two volumes of diaries published when Joan was in her sixties as Love Lessons (1985) and Love Is Blue (1986), she falls in love – madly, passionately, all-consumingly, but often for not much more than a week – with a succession of ever more unsuitable men.
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Healing Laughter

Rereading can be exhilarating or disappointing: it is rarely neutral. For me, revisiting P. J. Kavanagh’s account of his first thirty or so years, The Perfect Stranger, has been enjoyable as well as enlightening. Of course, even the first time round any book is edited as we go along by personal preference and perception. And when, as in this case, nearly half a century has passed, it’s likely that the reader’s perspectives have been modified by personal experience, and that some of the detail will have been forgotten.
SF magazine subscribers only

Marching with Marlborough

Published in 1956, Captain of Dragoons is set in the reign of Queen Anne, during the early years of the War of the Spanish Succession, and the relevant member of the family is Charles Carey, ‘a tall, lean young officer of Dragoons, with a crop of black hair cut short for comfort under his wig, and a pair of inky black brows that were convenient warning signals that his quick temper was rising’; he is also one of the most brilliant swordsmen in the Duke of Marlborough’s army, and is given ample opportunities to display his prowess.

Work Experience

The speaker – and wide-eyed narrator of I Shouldn’t Be Telling You This – is Sarah Makepeace, ex-college girl from Four Corners, Massachusetts, newly arrived in Greenwich Village and keen to earn a byline on the front page. At the novel’s hub is a nicotine-fuelled New York city news-desk in the 1970s, when stories were hammered out on typewriters or phoned in from call-boxes – the era of Gloria Steinem and aviator glasses, the Women’s Movement at its militant height and Gay Pride before Aids struck.
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Last of the Pagans

Last of the Pagans

Vidal explores this confrontation between old and new in a fictive autobiography drawing on three surviving volumes of Julian’s letters and essays, and contemporary recollections. In doing so, he paints a sympathetic portrait of an individual gullible and pragmatic, sensitive and stubborn. Julian was a skilful military commander, a talented administrator and a concerned social reformer. But he was driven by contempt for Christians who he saw bowing to an authority they regarded as greater than Rome. He mocked them as Galileans, and their churches packed with relics he called charnel houses.
SF magazine subscribers only
16th January 2015

‘Even more lovely than I’d anticipated . . .’

‘I recently received my copy of Christabel Bielenberg’s The Past Is Myself and I must say it is even more lovely a thing than I’d anticipated. Reading it, with its fine paper and its perfect size, slows me down in the very best way. Smith Settle have done a magnificent job in its production, and the choice of Bielenberg’s memoir is really inspired as it requires quiet contemplation and a slow pace to take in the import of the years the author so sensitively describes. You have brought a slice of slowness (a very good thing) into my life in the form of this beautiful edition.’
- J. Petterson, Canada
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