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A Cat’s Life

If you were a bookworm as a child, your memories are measured not only in family and school and public events, but also in the stories you read. You remember vividly the smell, the touch, the sight of certain books. You clearly recall picking them up from the shelf – an ordinary act – and then the extraordinary happening, as you open the book and fall straight into another world. For me, who loved fairytales and fantasy, who longed to go through the looking-glass, the wardrobe, into another world where anything might happen, it was also a blessed escape from the confusing, disturbing and tumultuous family dramas that dominated my childhood. In those stories of other worlds, I found pleasure and consolation, transformation and possibility.
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Feudal Afterglow

It is peculiarly exciting to turn a page and find a strong personal emotion exactly distilled – an emotion hitherto believed to be one’s private idiosyncrasy. Around the age of 13 most bookish children break into verse (the literary equivalent of acne) and I then wrote a ‘poem’ about corncrakes – specifically, what their crake did to me (and continued to do until farming became agribusiness and the crake was heard no more.) On p. 282 of Woodbrook David Thomson says in a few words what I failed to say in several feverishly florid verses.
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Dog Days

‘In August 1992, when the dog days were drawing to an end, I set off to walk the county of Suffolk.’ My copy of W. G. Sebald’s The Rings of Saturn – of which these are the opening words – is a first edition of the English translation from 1998. In fine condition these now fetch high prices, something that was pointed out to me as I stashed it in a knapsack last summer, and set off with two friends to retrace part of Sebald’s route along the Suffolk coast.
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Laura, Louisa and Me

Laura, Louisa and Me

The Child that Books Built is the title of a memoir by Francis Spufford which explores the impact of books read in childhood by interspersing an account of Spufford’s own reading with excursions into history, philosophy and psychology. It beautifully articulates the formative nature of childhood literary exploration. ‘The words we take into ourselves help to shape us,’ Spufford writes. ‘They help form the questions we think are worth asking; they shift around the boundaries of the sayable inside us . . . They build and stretch and build again the chambers of our imagination.’
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The Sensation of Crossing the Street

I remember thinking clearly: what a momentous day this is, and here I am, reading a novel set in London on a single day. What a chime, what an echo! These were not the words I used to myself, as I walked in the dazzling sun, but I now think they should have been, resonating as they do with the famous opening lines of Virginia Woolf ’s novel, when Clarissa Dalloway sets forth on a perfect June morning to buy the flowers for her party: ‘What a lark! What a plunge!’
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No Whingeing!

No Whingeing!

A Little Bush Maid began as a serial, from newspaper articles which Minnie (as she was christened) Grant Bruce – a jobbing journalist in Melbourne – had contributed to the children’s page she edited. Popular demand made her editor suggest they might make a book. Though it still seems thinly episodic, it does introduce the main cast of characters: David Linton, the owner of Billabong, who had turned ‘in a night from a young man to an old one’ when his wife died; Norah herself, a tomboy and apple of her father’s eye; her big brother, Jim, away at boarding-school some of the time, an athlete and no intellectual, but straight as a die; Wally Meadows his mate, dark and cheerful, ‘a wag of a boy . . . [who] straightaway laid his boyish heart down at Norah’s feet, and was her slave from the first day they met’; Mrs Brown, the cook, ‘fat, good-natured and adoring’; black Billy, the stable-hand, whose command of English is limited to the word ‘plenty’; Mr Hogg the gardener; his sworn enemy, Lee Wing, the Chinese vegetable gardener (complete with queue, or pigtail); Mr Groom, the English storekeeper, who tries to teach Norah to play the piano by more than just ear; Murty O’Toole, head stockman; Dave Boone, one of the station-hands; Sarah and Mary, Irish housemaids; and of course the dogs and the horses, particularly Norah’s pony, Bobs. At the centre of the plot is the Hermit, whom Norah befriends and who turns out to be David Linton’s long-lost friend, an accountant wrongly accused of dishonesty, who as a consequence had faked his own death before hiding away in the bush.
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Made in Siberia

Made in 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.
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The Spyglass of Tranquil Recollection

There are books which sit on our bookshelves for years, getting slightly more foxed as time passes. My Dubliners has followed me to five different addresses and, although a rather flimsy paperback (picked up second-hand, I see, for 1s 6d), remains in fairly decent condition. It was published in 1947 for Jonathan Cape by Guild Books, an imprint of the Publishers’ Guild ‘dedicated to bringing out the best from the lists of the twenty-six members’. I like the idea of trying to capture the spirit of a place through a series of stories such as Dickens’s sketches of London life, Mavis Gallant’s Paris stories and Jack London’s tales of San Francisco. Joyce wrote almost all his Dubliners’ stories away from Ireland and, like most of his work, they focus unremittingly on a brief period at the turn of the twentieth century – years around which the whole of his imaginative life revolved.

Cooking for Love

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.
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Light Reading

Light Reading

When my old friend the artist John Nash died I inherited his books. I imagined him reading them by lamplight, just as I read when I was a boy, the twin wicks faintly waving inside the Swan glass chimney. There they all were, those handsome runs of pocket-size volumes which preceded the 1930s Penguins and the subsequent paperbacks. Some were small-pack books and had gone to the Western Front. Some were hiking books and had gone up mountains. Some were still a bit painty, having gone on landscape expeditions. All showed signs of having had a life far from that in the studio bookcase.
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Too Much of a Good Thing

Too Much of a Good Thing

I see Frances Wood in that great tradition of intrepid British women explorers, like Mary Kingsley and Gertrude Bell. She sets out for China in 1975, when the Cultural Revolution is still going strong, and soon she is hacking a path through impenetrable jungles of revolutionary doctrine and jargon. Now she is gamely slogging across arid deserts of boredom and hours of improving lectures about the heroic deeds and shining examples of simple peasants. There are a hundred discomforts and irritations to be endured. To the natives she is a figure of curiosity; they stare and point and they don’t accept her. Like her explorer predecessors, she is indomitable, but in her case it is because of her heroic sense of humour and her eye for the absurd. Hand-Grenade Practice in Peking – her account of the year she spent as a student first at the Foreign Languages Institute in Peking and then at Peking University – is a very funny book.
A Personal Landscape

A Personal Landscape

Every reader of Wainwright will have his or her favourite passages: if nothing else the sequence is a monument to the self-effacing whimsy of a modest man. Enthusiasts point to the dedications of the different volumes, for example – The Eastern Fells ‘to the men of the Ordnance Survey’, The Southern Fells ‘to the sheep of Lakeland’, The North Western Fells ‘to those unlovely twins, my right leg and my left leg. Staunch supporters which have carried me about for over half a century, endured without complaint. And never once let me down.’ Again and again, the lovingly pastoral tone is enlivened by a wry (and occasionally macabre) humour.
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Happy Ever After

The Young Visiters was published in 1919 but written in 1890, when its author was 9. It appeared with a Preface by J. M. Barrie and with the manuscript’s many spelling mistakes faithfully reproduced. Within two years it had sold 230,000 copies, given rise to a stage play, and caused a rumpus in literary London. It has never been out of print since. This is an exceptional record for a slight work. Why was The Young Visiters so popular and why does it endure?
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