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20050301170530 Cover Art: Slightly Foxed Issue 5, Linda Scott, ‘Slightly Foxed’ An established illustrator, Linda Scott has enjoyed working for a variety of clients since graduating from the Royal College of Art in 1998. She also teaches at the London University of Arts and at Falmouth College of Arts.

Slightly Foxed Issue 5: From the Editors

Gail Pirkis & Hazel Wood

Slightly Foxed celebrates its first birthday this month, and we send special thanks and good wishes to our original subscribers who so sportingly took us on trust a year ago. We’re absolutely delighted that so many of you have decided to re-subscribe – a good number for two years. If you know of anyone who just hasn’t got round to it yet, it’s still not too late, and our offer of a reduction on a two-year subscription still stands (if you’re feeling generous, of course, you could always give them a gift subscription). And for anyone who missed the early issues and would like to complete the set, a limited number of back issues are still available.
20050301123700 Sue Bridgwater, Alison Uttley, Slightly Foxed Issue 5

A Past Relived

Sue Bridgwater on Alison Uttley, The Country Child

I first read Alison Uttley’s The Country Child over thirty years ago, when I was already in my twenties. I have always remembered it fondly, for it described a way of life that did not then seem so very far away. My grandmother was born in 1897 and I could still remember her stories of life on a remote Devon farm. When the book was reissued recently I read it again, this time with the eyes of a children’s librarian, wondering whether it would appeal to those brought up in very different times and from very different backgrounds.
20050301123757 J. W. M. Thompson, Thomas Love Peacock, Slightly Foxed Issue 5, Mark Handley

Peacock’s Progress

J. W. M. Thompson on Thomas Love Peacock, Headlong Hall; Crotchet Castle

The ups and downs of literary reputations are often slightly mysterious. I still find it strange, though, that although we pay ample homage to most of the heavyweights of the nineteenth century, one of the best and liveliest of them all has been allowed to fade from view. Thomas Love Peacock (1785–1866) deserves much better than that. I find his writings – sceptical, dry and sparkling with wit – as rewarding today as when I first read them many years ago.
20050301170410 David Eccles - Jonathan James-Moore on audiobooks

A Word in Your Ear

Jonathan James-Moore on audiobooks

I am, literally, a bad reader. I have mild dyslexia and well remember, when reading Peyton Place in my youth, taking ‘sonofabitch’ as ‘sofabitch’ and thinking it was a piece of bordello furniture. I am also partially sighted and have difficulty reading in either bright or low light; and with poor peripheral vision I tend to miss the ends of lines. So the advent of audio tapes and of the Talking Book (pioneered by the RNIB) has been a splendid thing for me.
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High Life

Sebastian Horsley on Edward St Aubyn, The Patrick Melrose trilogy

Bad News by Edward St Aubyn is, quite simply, the best book ever written about drugs. Thomas de Quincey, Charles Baudelaire, Jean Cocteau, William Burroughs, Hunter S. Thompson, Irvine Welsh and Will Self may all be writers roped together like mountaineers heading for the summit, but it is St Aubyn they will find at the top. I first came across the book about five years ago. There it was, quietly glowing away on a friend’s shelf. And from the moment I picked it up I knew it was a work of perfection. It fitted my own experience as seamlessly as a silk glove.
20050301162031 Ursula Buchan on V. Sackville-West, In Your Garden; In Your Garden Again

Posh but Down-to-Earth

Ursula Buchan on V. Sackville-West, In Your Garden; In Your Garden Again

Recently, I noticed a rather irritating poster on the Underground proclaiming: ‘You never forget your first time.’ It was an advertisement for a villa holiday company – bizarrely – but the irritation I felt (since I am not annoyed by villa holidays per se) had to do with the too obvious double entendre. In fact, one does not forget the first time that one does quite a lot of things – seeing one’s name in print, for instance, or walking along Striding Edge, that most vertiginous of paths on to the top of Helvellyn – and certainly I have never forgotten the first time I read a gardening book.
20050301155220 John de Falbe on Christine Sutherland, The Princess of Siberia

Made in Siberia

John De Falbe on Christine Sutherland, The Princess of Siberia

Every season a couple of wonderful biographies emerge whose reviews and sales might lead one to believe that they will stay bestsellers for ever. A year or two later they are in no greater demand than thousands of other backlist titles. Examples of this might be Amanda Foreman’s Georgiana or David Gilmour’s Curzon. Both were rightly acclaimed, but after the flurry of reviews, after Christmas had come and gone, they joined others on the shelves as definitive works on rather specialized subjects whose future sales will be steady, but modest. This is not to derogate the books: it is just what happens.
20050301153430 Lucy Lethbridge on Denton Welch, A Voice through A Cloud

A Perfect Nightmare

Lucy Lethbridge on Denton Welch, A Voice through A Cloud

In 1935, Denton Welch – then an art student at Goldsmith’s College – was knocked off his bike on a busy road just outside Bromley. He spent over a year in hospital and was permanently weakened by his injuries. He died thirteen years later at the age of 33, leaving behind him a few strange but compelling books – all of which obsessively pick over Denton’s recollections of his life before the accident. They culminate in A Voice through a Cloud, a nightmarish account of his months in hospitals and convalescent homes in southern England. He died before he finished it and it ends, with poignant abruptness, in the middle of a paragraph, with Denton sitting, uncertain and in pain, in his doctor’s car which is parked outside a bungalow in Broadstairs.
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The View from Denestornya

Ruth Pavey on Miklos Banffy, The Writing on the Wall: The Transylvanian Trilogy

Count Miklos Banffy’s Transylvanian Trilogy is a long novel about the follies, beauties and shortcomings of Hungarian society in the decade leading up to the First World War. He wrote it during the 1930s, when the disastrous outcomes of that war were still developing. Nostalgia may have been an active ingredient of this project, but Banffy’s purpose was to record rather than gild what had been lost. One of his conscious motivations was to help future Hungarians understand their past.
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An Island Apart

Miles Hordern on Raymond Firth, We the Tikopia

Tikopia lies 1,500 miles east of Australia in that part of the Pacific known as Melanesia. But culturally Tikopia’s population is Polynesian. For reasons that are not entirely clear the Tikopia ‘back-migrated’ from the Polynesian heartlands in Samoa and Tonga, sailing west against the general flow of migration about a thousand years ago. Today the island is technically part of the Solomons, but it is largely autonomous. Its inhabitants, whose skin is the colour of copper, are quite alone in a black-skinned Melanesian sea. It is this combination of isolation and insularity that has made Tikopia a favourite subject for anthropologists.
20050301143732 March of market women on Versailles - Roger Hudson on the memoirs of the Comtesse de Boigne

Daughters of Time

Roger Hudson on Memoirs of the Comtesse de Boigne

Outbursts of memoir-writing by women followed both the English Civil Wars and the years 1789 to 1830 in France, the period encompassing the Revolution, Napoleon, the Restoration and the July Revolution. It is hardly surprising since both these were periods of profound upheaval, when events left a deep impress on people’s minds as well as a desire to explain and justify them, and their own behaviour at the time, to future generations. Mrs Lucy Hutchinson, Ann, Lady Fanshawe, Margaret, Duchess of Newcastle and Anne, Lady Halkett were followed 150 years later by Mesdames de Boigne, de La Tour du Pin and de Remusat. The reissue of Madame de Boigne’s book in translation drew me back to reread the last three.
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Drama in Suburbia

Adèle Geras on Richard Yates, Revolutionary Road

Ever since he drew my attention some years ago to the best book I’ve read in the last decade – Time Will Darken It by William Maxwell – I have trusted Nicholas Lezard’s judgement. And if I remember correctly, it was his recommendation in the Guardian that also made me rush out to find Revolutionary Road by Richard Yates, of whom I had never heard. It wasn’t in the shops, so I had to order it.
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Horn-rims and Baggy Chords

Ariane Bankes on Stone Trough Books

In George Ramsden’s quiet secondhand bookshop, Stone Trough Books, in York, he normally has a publishing job on the go as well. Editing (letters of Siegfried Sassoon at the moment) and book-design absorb him to the extent that he may barely notice when a customer comes in. Indeed, with his horn-rimmed spectacles under a shock of rigid hair, and a manner combining chivalry with extreme vagueness, he has the air of a startled hedgehog when spotted beyond the bookstacks. His series of catalogues – a leisurely fifteen spread over twenty years – are typographically understated, without colour illustration and with only scant recommendation of the books, but nevertheless beautifully designed, as are his own publications. He confesses to being a complete amateur as regards design but his life has become infused with the subject, and he now ponders title-pages, wine-labels, logos on lorries, sheet-music covers, even shop fascias, with an unusual degree of discernment.
20050301140600

Cooking for Love

Katharine Davies on Romesh Gunesekera, Reef

Each time I read Reef – the story of a boy, Triton, growing up as a servant and cook in Sri Lanka in the late 1960s – I find something new. I think the way that The Tempest flits in and out of the novel is one of the things that keeps me rereading it. Another is the play of light and shadow in Romesh Gunesekera’s prose.

I lived in Colombo from 1992 to 1994, teaching English, and my first home was on Havelock Road where, only the year before, a bomb had exploded, throwing severed heads and body parts into the air. This, by Sri Lankan standards, was nothing. Like many others, I was struck by the incongruity of such horror in a country so deceptively gentle, one that looked so much like the Garden of Eden. In Reef Gunesekera seduces you with a charming depiction of a lost era, but underlying it all is the knowledge of the killing that came later.
20050301125446 Juliet Gardiner on Patrick Wright, Tank: The Progress of a Monstrous War Machine

Tank Tracks

Juliet Gardiner on Patrick Wright, Tank: The Progress of a Monstrous War Machine

The tank is an emblem of state power, a behemoth that has transformed wars and threatened – and sometimes mown down – civilians. But it has also been seen as a ‘cubist slug’, has inspired a modernist song and dance routine Tanko, has led military men to philosophize, and installation artists to appropriate the rhomboid shape to suggest the ultimate in urban alienation. In short, the tank, as Tank so skilfully and wittily and sadly shows us, stands at the very heart of the twentieth century and points up its follies, its wickedness, its aspirations, its delusions – and occasionally its humanity.
20050301124500 Jeremy Lewis on Simon Gray, The Smoking Diaries

Smoke Signals

Jeremy Lewis on Simon Gray, The Smoking Diaries

I am wretchedly ill-qualified to write about Simon Gray, since I am hopeless about going to the theatre and have never seen one of his plays. I plan to remedy matters as soon as I can, but in the meantime I cannot recommend his autobiographical writings too highly. An Unnatural Pursuit is, alas, out of print, but Fat Chance, Enter a Fox and the masterly Smoking Diaries have all been reissued in paperback, and only the most Cromwellian theatre-hater could fail to be touched, amused and thoroughly entertained by them.
20050301122752 Patrick Evans on George Ewart Evans & David Thomson, The Leaping Hare

A Hare’s Breadth

Patrick Evans on George Ewart Evans & David Thomson, The Leaping Hare

Reading the opening chapter, I was immediately sucked into a magical world. The hare’s behaviour confounds science: it may move in a great drove like deer; it sucks milk from cows at pasture; it swims the Suir estuary in Ireland; it is intoxicated by snow, and makes tunnels in it for fun, despite not being a burrowing animal like its cousin the rabbit. And as part of an elaborate, little-understood mating ritual, it will sit transfixed in groups of thirty or forty, watching dancing, boxing males and females spar for attention.